DARK EASTER
by Stanley Olan
Summary: An aspiring businessman and a group of teens try to re-open a lodge which may or may not be haunted. Brutal slaughter ensues and the killer is revealed to the sole survivor, in a surprising twist! I had to write this slasher script for film class. Enjoy!


FADE IN  
  
ESTABLISHING SHOT:  
  
1EXT. ROAD - NIGHT  
  
THE TRACK is SILENT. Slowly, The CAMERA PANS to a sign, which reads:  
  
GREEN HILLS LODGE  
  
Established 1972  
  
SUPER the legend: "April 20, 1974."  
  
  
  
A VOICE begins to filter in. It is a woman, singing a jazz song in the distance.  
  
CUT TO:  
  
2EXT. LODGE - NIGHT  
  
A typical, small two floored lodge for all seasons. Almost all the lights are dark, except for a few windows on the first floor. They are ablaze with warm light.  
  
The CAMERA ZOOMS to the lighted windows, and it revealed that the lodge's lounge is behind them.  
  
Inside the lounge, A FEW DOZEN guests watch watch ELAINE, a beautiful YOUNG GIRL in a a rather revealing evening gown sing a classic jazz song. There is no music, but her voice makes up for this.  
  
CUT TO:  
  
3INT. LODGE - GUEST LOUNGE - NIGHT  
  
Elaine finishes her song. The guests applaud her. She smiles warmly and curtsies.  
  
WILLIAM, A RELATIVELY YOUNG MAN approaches her and faces the guests.  
  
He waits a second for the guests to stop clapping. When they do, he begins a slick, and obviously well rehearsed speech.  
  
WILLIAM  
  
Thank you for your applause.  
  
This was the one, the only,  
  
the wonderful Elaine Cedrac,  
  
giving her Easter special  
  
concert. Now, our staff  
  
will be happy to serve you  
  
refreshments before bedtime.  
  
Waiters begin to snoop around the guests, serving them finger food, as Elaine and William exit.  
  
  
  
CUT TO:  
  
4EXT. LODGE - TERRACE - NIGHT  
  
Elaine and William exit to the large terrace. As soon as they get to the more shadowy corner of it, William passionatly hugs Elaine.  
  
ELAINE  
  
I am so glad your problem  
  
has been resolved.  
  
WILLIAM  
  
You're telling me. That  
  
disgusting pig! How could  
  
she even think that I   
  
would actually---  
  
(pauses)  
  
Well, anyway, don't worry  
  
about it. Now kiss me.  
  
He leans to kiss Elaine, but she pushes him away.  
  
ELAINE  
  
Not here! This will ruin  
  
my virginal image!!  
  
WILLIAM  
  
You're right. Let's go  
  
to the garden.  
  
As they hurry walk down the steps leading the garden, the lounge lights go out.  
  
CUT TO:  
  
5EXT. GARDEN - NIGHT  
  
William and Elaine sit down on a bench and begin to kiss passionatly.  
  
The CAMERA shifts to ANOTHER ANGLE: Just beyond the thick trees and bushes. The shot is a slow tracking one, giving the impression that SOMEONE is spying on the two lovers.  
  
The unseen watcher will be called the STALKER.  
  
Elaine unlocks her lips from William  
  
ELAINE  
  
Finally... You're all mine.  
  
WILLIAM  
  
Yeah...  
  
Thy kiss again, this time more passionatly, and becoming more and indulged with each other.  
  
STALKER'S POV: The CAMERA MOVES closer to get a better view of the couple. A HAND comes into FRAME and removes some tree branches for a better look of the lovers. They are completely oblivious that someone is watching.  
  
SERIES OF SHOTS & ANGLES:  
  
The Stalker, never seen, begins to move towards Elaine and William. His other hand comes into view, it holding A HATCHET. The MAIN THEME begins to slowly filter in. Gradually, it becomes louder and louder.  
  
As they kiss, William and Elaine's eyes are completely closed. They don't see as the comes closer. Closer. Closer.   
  
The Stalker positions the Hatchet above Elaine's head.  
  
Suddenly, Elaine feels something is wrong. She looks up and SHRIEKS in terror.  
  
The hatchet goes down, Elaine's scream is cut short and she goes down under the blow.  
  
ANGLE ON WILLIAM: BLOOD spurts on his face, and he is shocked. The Stalker grabs William by the throat and takes out A HUNTING KNIFE, and William suddenly snaps out of his shock.  
  
William makes a fist and hits The Stalker in his face. The Stalker retrieves, accidently dropping the knife.  
  
William does not hesitate and quickly grabs the knife.  
  
WILLIAM  
  
What do you want? Get away!  
  
ANGLE ON WILLIAM: He begins to wave the knife around in a frenzy.  
  
SINGLE SHOT:  
  
The Stalker attempts to grab the knife away from William, for which he gets a deep cut on the wrist. The Stalker does not react to this. Instead, he grabs William by his hand and twists the palm, until William SCREAMS in pain and lets his grip on the the knife loose.  
  
The Stalker quickly grabs the knife and without any hesitation, shoves it in William's eye.  
  
William's mouth drops open letting out a silent scream. His hand graps the knife's handle. BLOOD begins to pour out of the wound.  
  
THE SCREEN BLEEDS TO BLACK.  
  
It is completely silent.  
  
CROSS CUT TO:  
  
6TITLE SEQUENCE  
  
The screen is completely black and silent. Suddenly, with A MUSICAL STING, THE MAIN TITLE CUTS IN:  
  
DARK EASTER  
  
We ROLL TITLES as the MAIN THEME filters in once again, this time arranged in a bizzare fashion.  
  
TITLES and MUSIC fades out.  
  
DISSOLVE TO:  
  
7EXT. SMALL TOWN - STREET - EARLY MORNING  
  
Rows of tiny houses are divided by a narrow road, no cars are seen in sight.  
  
SUPER the legend: "April 20, Easter. The Present."  
  
The CAMERA ZOOMS in the very end of the road. A SHAPE slowly comes into views. It is AN ATTRACTIVE YOUNG GIRL. She is carriyng a backpack and a suitcase. Her name is JOAN.  
  
Slowly, RADIO DJ'S VOICE begins to filter in.  
  
DJ  
  
(v.o.)  
  
Hey everyone! It's that time  
  
of year again. No, not Christmas,  
  
but thanks for guessing! Its...  
  
Easter! So, everyone color those  
  
eggs and find those bunnies...  
  
Joan slowly walks down the street. She sees a store and wlaks towards it.  
  
DJ  
  
(cont'd)  
  
And for all those of you  
  
who have decided to wake  
  
up early and go to church,  
  
don't forget to wash those  
  
whites! At least something  
  
about your life has to be  
  
clean and white when you  
  
enter a holy place.  
  
Joan enters the store.  
  
CUT TO:  
  
8INT. STORE - MORNING  
  
Typical Easter decorations are draped all over the store. It looks quite overdone.  
  
A STOREKEEPER, and FIVE COSTUMERS are crammed in the small store.  
  
The DJ's voice is blaring out of small rado by the check-out.  
  
Joan enters. Nobody seems to pay much attention to the girl. She looks over the small group of people shyly.  
  
JOAN  
  
Hello? Does anyone know  
  
the quickest path to Green  
  
Hills Lodge? I am running  
  
a bit late.  
  
The people immideatly freeze in the middle of what they were doing.  
  
COSTUMER 1  
  
The Dead Lodge? So they  
  
are opening that place up  
  
again?  
  
COSTUMER 2  
  
Have they no shame?  
  
JOAN  
  
Excuse me?  
  
STOREKEEPER turns of the radio. The DJ's voice stops abruptly.  
  
STOREKEEPER  
  
Be quiet, all of you.  
  
What's done is done. It's  
  
been thirty years, time to  
  
move on.  
  
CUSTOMER 2  
  
Tell it to the families of  
  
those two poor souls. I won't  
  
even mention that other girl.  
  
CUSTOMER 3  
  
They were against this whole  
  
affair, you know. Even started  
  
a petition.  
  
CUSTOMER 4  
  
Even of they do open up, there  
  
will be no business. The place  
  
is cursed, you know.  
  
CUSTOMER 2  
  
But some people just don't get  
  
that, do they?  
  
JOAN  
  
But... I am just there to  
  
entertain the kids. I've been  
  
hired through an agency a few  
  
days ago.  
  
STOREKEEPER  
  
It's okay, Dear. Don't  
  
mind them.  
  
(looks at Custmer 5, who has  
  
been silent this whole time.)  
  
Ted? The path can't be too  
  
far away. You used to fish in  
  
the area, right?  
  
Custmer 5, TED, steps out.  
  
TED  
  
Yeah.  
  
STOREKEEPER  
  
Could you take this girl  
  
there?  
  
TED  
  
Sure, this way.  
  
Joan smiles and waves goodbye to the Storekeeper. She grabs her suitcase and follows Ted outside.  
  
CUT TO:  
  
9EXT. STREET - DAY  
  
Ted is walks up to an old, beat up van. He opens the door.  
  
TED  
  
Don't worry. This baby is  
  
safer than it really looks.  
  
JOAN  
  
Thanks alot. I am Joan by  
  
the way.  
  
TED  
  
Nice to meet you.  
  
Joan hands him the suitcase, Ted tosses it inside the van. Then, they climb in the van and it drives off.  
  
CUT TO:  
  
10EXT. HIGHWAY - MORNING  
  
THE TRACK is SILENT.  
  
Suddenly, a heavy metal music BLASTS in and A CAR drives across the road.  
  
11INT. CAR - MORNING  
  
THREE TEENS are inside. They are clean cut, fit, attractive and are obviously from suburbia. Basically, they are kids you might only see in a rich neighborhood, or a Pepsi commercial.  
  
Two if them are MALE and the other is a FEMALE.  
  
Behind the wheel is MARK. He is wearing a typical prep boy attire. Seated next to him is TRISHA, a typical prep girlfriend. WALTER is in the backseat. He looks slightly more nerdy, but is obviously wearing expensive clothes.  
  
The heavy metal music that was heard on the road is blaring out of the radio.  
  
TRISHA  
  
God, MARK! Turn this crud  
  
down. How can anyone listen  
  
to it.  
  
MARK  
  
Well, I'm sorry, Trish, but  
  
not everyone likes Enrique.  
  
Mark turns off the radio.  
  
TRISHA  
  
Screw you.  
  
MARK  
  
Oh, yeah?  
  
TRISHA  
  
(leans to him, seductively)  
  
Yeah.  
  
MARK  
  
Yeah?  
  
TRISHA  
  
(leans to him even further)  
  
Yeah.  
  
MARK  
  
Yeah?  
  
TRISHA  
  
Yeah.  
  
She starts kissing him. Mark does not seem to mind and answers her the same.  
  
ANGLE ON WALTER: Walter looks at the road in horror.  
  
WALTER  
  
Mark! Watch the road!!  
  
ANGLE ON MARK & TRISHA: Mark unlocks his lips from Trisha and looks at the road.  
  
MARK  
  
WHOA!  
  
Mark frantically turns the steering wheel.  
  
CUT TO:  
  
12EXT. ROAD - MORNING  
  
The car barely misses a sign, which reads:  
  
Green Hills Lodge Lake Resort  
  
NEXT EXIT  
  
CUT TO:  
  
13INT. CAR - MORNING  
  
The trio sighs in relief.  
  
TRISHA  
  
Watch the road, Dickhead!  
  
MARK  
  
Well, excuse me, but I  
  
wasn't the one slobering  
  
myself.  
  
TRISHA  
  
Well, you I did not seem  
  
you protest much, did you?  
  
WALTER  
  
Guys, let's change the  
  
subject.  
  
MARK  
  
Okay, what do you want to  
  
talk about?  
  
WALTER  
  
Well... Umm... Hey! Isn't  
  
it cool that all three of  
  
us get to work in the  
  
same place during the summer?  
  
(no one answers)  
  
Well?  
  
(still, no one answers)  
  
Trisha? Mark?  
  
TRISHA  
  
(sarcastic)  
  
I am in a jubilating ecstacy.  
  
Now shut up, Walter.  
  
WALTER  
  
Well excuse me for trying to  
  
make the best of things.  
  
Walter sighs and grabs a magazine, which is lying next to him.  
  
TRISHA  
  
Whatever. Mark, turn the  
  
radio back on. And not on  
  
THAT station.  
  
Mark smiles and turns on the radio. The familiar Radio DJ is heard again.  
  
WALTER  
  
Wait! Leave him on. I love  
  
how those DJ guys diss  
  
holidays.  
  
MARK  
  
Knock yourself out.  
  
TRISHA  
  
Well, he finally hit rock  
  
bottom. I mean, listening  
  
to a local Disk Jockey?  
  
RADIO DJ  
  
And let's not forget to  
  
congratulate Torrey Oak  
  
County, where our very  
  
own infamous Green Hills  
  
Lodge is located. Not only  
  
is this the first time they  
  
decided to celebrate Easter  
  
in over thirty years, but  
  
it is the grand reopening  
  
of Green Hills Lodge! Let's  
  
hope that this time, it will  
  
actually open!  
  
TRISHA  
  
What the hell was that?  
  
MARK  
  
Don't you know?  
  
TRISHA  
  
Umm... No. Duh!  
  
MARK  
  
Long story. I'll tell you  
  
later. We're almost there.  
  
Trisha sighs and turns off the radio before the DJ has a chance to make another tasteless joke.  
  
CUT TO:  
  
14EXT. LODGE - MORNING  
  
ALLAN CARLTON, LATE TWENTIES, comes out of the lodge, carrying a a giant stack of paper towles.  
  
He sees Mark's car pull into the lot. Allan hurries over to them.  
  
CUT TO:  
  
15EXT. LODGE PARKING LOT - MORNING  
  
The car stops and Mark, Trisha, and Walter exit out.  
  
Allan approaches them.  
  
ALLAN  
  
Hey, you must be the guys.  
  
Would you mind helping me  
  
out?  
  
The trio each take a portion of the stack.  
  
MARK  
  
Are you alright now?  
  
ALLAN  
  
Yeah, thanks. By the way,  
  
I am Allan Carlton. You  
  
guys will be working for  
  
me.  
  
MARK  
  
Okay. By the Way, I am Mark  
  
Eastman. This Trisha Dalton  
  
and Walter Goerd.  
  
ALLAN  
  
Great. Now, four of your  
  
colleagues are already  
  
here, preparing the lodge.  
  
The fifth one's on the way.  
  
TRISHA  
  
You mean you only hired nine  
  
people to take carof this  
  
lodge and service the guests?  
  
WALTER  
  
Yeah, are you sure that we  
  
can manage with such a short  
  
staff?  
  
ALLAN  
  
(sighs)  
  
Well, first of, we are just  
  
opening and I am not expecting  
  
a very good business in the  
  
first couple of months. When  
  
more people will decide to  
  
stay here, I'll hire more staff.  
  
Besides, this is just a small  
  
lodge. We don't need a lot of  
  
staff.  
  
TRISHA  
  
I see.  
  
WALTER  
  
When will we meet the others?  
  
ALLAN  
  
Oh, that's right. Sorry, how  
  
very stupid of me.  
  
(turns around and calls out loudly)  
  
CLAIRE!!!  
  
CLAIRE comes into the MS, holding a hammer and a few nails. She is very pretty, and has girl-next-door written all over her. It is obvious that she has been working very hard for some time now.  
  
CLAIRE  
  
What is it, Allan?  
  
(notices the others)  
  
Oh, hi. I guess we'll be working  
  
together. I am Claire, by the way.  
  
WALTER  
  
Nice to meet you. I am  
  
Walter. These guys are  
  
Mark and Trisha.  
  
ALLAN  
  
Claire, where are the others?  
  
CLAIRE  
  
Well, Scott and Heather are  
  
installing the mattresses.  
  
Monica is making herself  
  
familiar with the kitchen.  
  
ALLAN  
  
Did that girl Joan show up  
  
yet?  
  
CLAIRE  
  
I don't know. I mean, I haven't  
  
seen her. By the way, could  
  
you help me finish nailing the  
  
window frame? I don't know  
  
who did you pay to fix this  
  
place up, but the those frames  
  
are falling apart like Michael  
  
Jackson's face.  
  
MARK  
  
That bad, huh?  
  
CLAIRE  
  
No kidding.  
  
ALLAN  
  
Okay, just give me a sec.  
  
Guys, let me show you where  
  
the storage is, so that we  
  
could put away these damn  
  
towels.  
  
CLAIRE  
  
You know where I'll be.  
  
ALLAN  
  
Great.  
  
(to the rest)  
  
When we're done be free to  
  
unpack and rest, meet the  
  
others. I'll give you all  
  
a short tour of the lodge  
  
and assign you your tasks.  
  
Sounds good?  
  
Mark, Trisha, and Walter nod. Allan walks off, they follow him, Claire goes the other way.  
  
CUT TO:  
  
16EXT. HIGHWAY - MORNING  
  
Ted's van speeds across the road.  
  
CUT TO:  
  
17INT. TED'S VAN - MORNING  
  
Ted is driving. Joan is sitting next to him. Ted seems to be nervous about saying something, but finally he sighs and begins.  
  
TED  
  
You know, I don't mean to  
  
sound like those morons with  
  
no life back at the store,  
  
but I wouldn't put my foot  
  
in that lodge for all the  
  
money in Bill Gates's account.  
  
JOAN  
  
Why is that?  
  
TED  
  
This will sound creepy,  
  
but there is something...  
  
What's the right way to  
  
put it... Queer about  
  
that place. Something  
  
is not right there.  
  
JOAN  
  
What do you mean?  
  
TED  
  
That place has a history  
  
of morbid events. First, a  
  
maid drowns in the lake  
  
adjacent to the lodge, during  
  
Easter by the way. Then,  
  
a year later, the owner and  
  
the entertainer get butchered  
  
in the garden. Also during  
  
Easter! They never found  
  
the culprit, you know.  
  
JOAN  
  
My god! Why, that's horrible.  
  
I used to think that was an  
  
urban legend. I thought that  
  
there was no way someone could  
  
just butcher two innocent people.  
  
TED  
  
Yeah. Well, anyway, the place  
  
was, of course, shut down, but  
  
a few years later some resort  
  
corporation tried to reopen it  
  
and make it a part of their  
  
franchise. So they send one of  
  
their people to check out the  
  
location. He was never heard  
  
from again.  
  
Joan shudders.  
  
TED  
  
(Cont'd)  
  
Oh, that's not all.  
  
JOAN  
  
Well, what else happened?  
  
TED  
  
They still tried to open it  
  
up again, so when the workers  
  
came up to fix the lodge, they  
  
find that water in the lake has  
  
been contaminated!  
  
JOAN  
  
How?  
  
TED  
  
Some sicko threw in dozens,  
  
dozens of bloated, rotting  
  
animal carcasses.  
  
  
  
JOAN  
  
(repulsed)  
  
That's... That's disgusting.  
  
TED  
  
And the last time they tried  
  
to open it... The lodge itself  
  
nearly burned down for some  
  
unknown reason. If you ask  
  
me, they should have just let  
  
it burn to the ground...  
  
But there is an even more  
  
disturbing detail.  
  
JOAN  
  
What is it?  
  
TED  
  
Every year, on Easter, we find  
  
a sign, written in blood, saying  
  
"Remember that Easter." Which one,  
  
huh? It is always found in an  
  
upstairs maids room. Every year  
  
it comes around like clockwork,  
  
all though this year... Well, not  
  
yet anyway.  
  
JOAN  
  
It can't all be true...  
  
TED  
  
The scary thing is, it is  
  
all true. I mean, the town  
  
was teriffied of celebrating  
  
Easter for years. This is the  
  
first year we finally decided  
  
to get over it. And not quite  
  
all the way, as you have already  
  
see back at the store.  
  
(pauses)  
  
Sorry. Didn't mean to freak  
  
you out. You see, I have this  
  
blabbering problem. I can go  
  
on for hours.  
  
JOAN  
  
No, it's okay.  
  
Suddenly, the van begins to make sputtering noises.  
  
TED  
  
Damn it!! I forgot to fill  
  
her up again!  
  
The van suddenly comes to a stop.  
  
JOAN  
  
Well, what do we do? I am  
  
already late.  
  
TED  
  
I could go to the nearest  
  
gas station for some fuel  
  
and you could wait here,  
  
but I think that it will  
  
be faster for you if you  
  
just walked the rest way.  
  
JOAN  
  
Won't I get lost? I've  
  
never been here before.  
  
TED  
  
Well let me see where exactly  
  
we are.  
  
Tedd looks out the driver's window.  
  
JOAN  
  
Well? Is the lodge far away?  
  
TED  
  
(looks out the window)  
  
Actually, I have great news  
  
for you. As you get outside,  
  
immediately head into the  
  
woods and keep walking  
  
straight ahaead, never  
  
turning. That way there is  
  
no possible way for you to  
  
miss the lodge.  
  
JOAN  
  
Really?  
  
TED  
  
Yeah, trust me. I grew up  
  
in these parts.  
  
JOAN  
  
Well, then. I guess this is  
  
goodbye. Thanks for everything,  
  
Ted.  
  
TED  
  
Bye, Joan. Take care.  
  
JOAN  
  
(smiles)  
  
Bye Ted. Should I sent help  
  
for you when I get there?  
  
TED  
  
Don't bother. I can take  
  
care of myself.  
  
JOAN  
  
Okay then.  
  
Joan opens the door and climbs out of the van. Ted watches her as she heads off into the nearby woods.  
  
TED  
  
Good Luck, Kid. You'll  
  
need it.  
  
CUT TO:  
  
18INT. LODGE - EMPLOYEE LOUNGE - MORNING  
  
A typical employee lounge, with a television set, a couch, and a few chairs. There's also a lunch table and large windows in the back. A telephone is on a small teble by the couch. A heavey bronze candlestick in the middle of the table.  
  
Claire is sitting behind the table. A few metal dishes with different shades of paint are next to her, along with a basket of eggs and a few paint brushes.  
  
Claire is totally concentrated on painting the eggs.  
  
Allan walks by the open doorway, holding a hammer. He sees Claire and stops in surprise.  
  
ALLAN  
  
I thought you were nailing  
  
the window frames.  
  
He crosses from BG into FG.  
  
ALLAN  
  
(cont'd)  
  
(smiles)  
  
Already slacking off? Hate  
  
to see you not doing your job.  
  
CLAIRE  
  
(still painting the eggs)  
  
I was, but you really took  
  
your time showing the others  
  
the storage. I've been done  
  
for fifteen minutes now.  
  
ALLAN  
  
Oh... Sorry about that.  
  
CLAIRE  
  
It's okay. For the matter,  
  
of fact, it wasn't as hard  
  
as I thought. I had those  
  
babies nailed up in no time.  
  
ALLAN  
  
Oh. Hey, what are you doing?  
  
CLAIRE  
  
Egg painting. After all,  
  
it is Easter.  
  
ALLAN  
  
Yeah, but where did you  
  
get the eggs and coloring?  
  
CLAIRE  
  
I just took some eggs from  
  
the pantry and got some  
  
left over paint. I hope  
  
you don't mind.  
  
ALLAN  
  
Now, it's fine by me.  
  
(sits down next to her)  
  
But why are you painting the  
  
eggs? I mean, you don't have  
  
to do that every Easter.  
  
CLAIRE  
  
I know, I know. You can call  
  
it a habit. Personally, I  
  
think of it as a reflex.  
  
ALLAN  
  
Really? Why is that?  
  
CLAIRE  
  
It's just I have been egg  
  
painting every Easter since  
  
I was six. My parents were  
  
very old fashioned. Sometimes  
  
it seems that I just HAVE TO  
  
paint them. I don't know why  
  
though. I mean, it's not as  
  
if that is gonna save my  
  
life!  
  
She laughs, Allan smiles at her.  
  
ALLAN  
  
You're very funny.  
  
CLAIRE  
  
Thanks.  
  
ALLAN  
  
And very beautiful.  
  
Allan smiles and puts his hand on Claire's cheek.   
  
REACTION SHOT: Claire sighs, and puts down paintbrush and the unfinished egg.  
  
CLAIRE  
  
Allan, please...  
  
  
  
Allan quickly retreats.  
  
ALLAN  
  
Why won't you give me a  
  
chance?  
  
CLAIRE  
  
It's nothing personal. Just  
  
a problem I'm having.  
  
ALLAN  
  
But as long as you're staying,  
  
they opened a great night  
  
club back in town and---  
  
CLAIRE  
  
As a matter of fact, I am  
  
seriously thinking about  
  
quitting.  
  
ALLAN  
  
What? Why?  
  
CLAIRE  
  
I may need to fly back to  
  
Denver to straighten something  
  
out. And don't even ask me what  
  
it is. I just...  
  
ALLAN  
  
Well, then meet me half  
  
way.  
  
CLAIRE  
  
How is that?  
  
ALLAN  
  
Help me set up the lodge,  
  
if you're not happy then,  
  
I'll buy you the plane  
  
ticket myself.  
  
CLAIRE  
  
I don't know...  
  
ALLAN  
  
Claire, please. Please!  
  
CLAIRE  
  
(sighs)  
  
Fine. But just one week.  
  
ALLAN  
  
Really? Thanks!  
  
CLAIRE  
  
Although I do wish you  
  
didn't get your hopes up.  
  
ALLAN  
  
Oh, Okay.  
  
Allan exits out of FRAME, as Claire gets back to egg painting.  
  
CUT TO:  
  
  
  
19EXT. FORREST - MORNING  
  
Joan is wandering around, obviously lost.  
  
SOMEONE'S POV: He is watching her. He hides behind a giant oak, seeing Joan, but unseen to her. He slowly steps out of his hiding place. Joann sees him and aproaches, with a giant, delicious smile.  
  
ALLAN  
  
Oh, hello. I didn't know  
  
anybody else was out here.  
  
Thank god I found you. Say,  
  
do you how I should get to  
  
Green Hills---  
  
Someone does not let Joan finishes and grabs her by the throat. It is revealed that there is a deep scar on the wrist!  
  
In shock, Joan drops her suitcase.  
  
JOAN  
  
What are doing! Let go.  
  
The Stalker begins to strangle Joan. She sturggles desperately, but is losing her strenght. With the last ounce of it, She bites the Stalker on the thumb.  
  
The Stalker lets go of the girl to nurse his finger. Joan wastes no time and runs.  
  
MONTAGE - MULTIPLE ANGLES OF JOAN:  
  
Joan runs through the dense forrest growth.  
  
To make it easier to run, she abandons her backpack.  
  
Whenever she looks back, Joan begins to run even faster, gasping for breath.  
  
Suddenly, she trips over a root and collapses on the ground.  
  
STALKER'S POV: He slowly approaches Joan and raises his hand. It is now holding A LARGE BUTCHER KNIFE.  
  
JOAN  
  
(weakly)  
  
No, please... Please...  
  
DON'T!!!!!  
  
The knife goes down and penetrates Joan's back. She SCREAMS in pain.  
  
The knife stabs her again and again, getting smeared in blood more and more.  
  
ANGLE ON JOAN: She lets out a last gasp and limps lifelessly on the grass. Her face is frozen with a shocked, terrified look.  
  
The Stalker grabs her by her collar and, like a hunter does with a dead animal, drags her out of FRAME.  
  
CROSS CUT TO:  
  
20 INT. LODGE - EMPLOYEE LOUNGE - MORNING  
  
Claire has just finished the last egg and places it in a basket with the others. She picks up the basket and places it in the middle of the table, right by the candlestick.  
  
CLAIRE  
  
(jokingly)  
  
Another year, another perfect  
  
egg decoration.  
  
Suddenly, the telephone RINGS.  
  
Claire approaches it and picks up the receiver.  
  
CLAIRE  
  
Hello, Green Hills Lodge,  
  
Claire speaking. Would you  
  
like to find out about our  
  
special family pack---  
  
Claire hears HEAVY BREATHING emitting from the telephone receiver.  
  
CU ON CLAIRE:  
  
CLAIRE  
  
(cont'd)  
  
Hello? Who is this?  
  
The caller hangs up. Claire shrugs and does the same.  
  
Then, with A MUSICAL STING, A HAND places itself on Claire's shoulder.  
  
REACTION SHOT: Claire gasps in surprise and fright and turns around to find...  
  
...SCOTT, a good looking teen, another Pepsi Kid.  
  
CLAIRE  
  
(sighs in relief)  
  
Oh, Scott, it's you.  
  
SCOTT  
  
Yeah, who did you expect?  
  
Jason Voorhees's mother?  
  
CLAIRE  
  
(sarcastic)  
  
You are hilarious. So,  
  
anyway, what's up?  
  
SCOTT  
  
Nothing much. I just came  
  
here to ask to help Walter  
  
and me rearrange the furniture  
  
in the lounge.  
  
CLAIRE  
  
Sure.  
  
They are about to exit, but Claire stops.  
  
CLAIRE  
  
Scott? You're from around  
  
here, aren't you?  
  
SCOTT  
  
Yeah, so?  
  
CLAIRE  
  
Tell me, is it true what  
  
I heard about this lodge?  
  
Those murders?  
  
SCOTT  
  
Well, it is true. There  
  
were some rather gruesome  
  
deaths and happenings going  
  
on here a few years ago.  
  
CLAIRE  
  
Well... How did that story  
  
began anyway?  
  
SCOTT  
  
Stories like this don't  
  
begin. People get scared,  
  
they say things. Things  
  
begin to happen. There is  
  
no beginning, or end to  
  
this.  
  
CLAIRE  
  
I don't understand.  
  
SCOTT  
  
Just forget about. And also  
  
forget about what those  
  
spinsters with no life told  
  
you. Besides, you don't wan't  
  
to piss Allan off with those  
  
stories. By the way, I think  
  
he has crush on you.  
  
CLAIRE  
  
(sarcastic)  
  
Oh, my god, Scott! Gee whiz,  
  
where you the only one who  
  
noticed this? I swear to god,  
  
I am amazed by your splendid  
  
deduction skills!!  
  
SCOTT  
  
Yeah. Right. So, are you  
  
helping?  
  
CLAIRE  
  
Let's go, then.  
  
They exit out of FRAME. The CAMERA lingers a bit longer on the telephone.  
  
CUT TO:  
  
21INT. LODGE - GUEST ROOM - MORNING.  
  
Mark and Trisha are putting on the finishing touches. They add doilies on chair upholstiires, spreading a quilt on the bed, etc.  
  
TRISHA  
  
There. We should be all  
  
ready for the grand  
  
opening next week.  
  
MARK  
  
(dark & morbid)  
  
If we do open next week,  
  
Trish. The ghosts of the  
  
lodge are not happy!  
  
TRISHA  
  
Mark, just shut that pie  
  
hole of yours. I can't  
  
believe you actually  
  
believe that crap.  
  
MARK  
  
You deny them, Trisha.  
  
And that is why they...  
  
WANT YOU!!!!!!!  
  
In a flash, Mark grabs the quilt and wraps it around Trisha. She SCREAMS in amusement, while he growls evily.  
  
Mark throws Trisha ont he bed.  
  
ECU ON TRISHA:  
  
TRISHA  
  
Let go off me! Or I'll---  
  
ECU ON MARK:  
  
MARK  
  
Or you'll what?  
  
ECU ON TRISHA:  
  
TRISHA  
  
French the living hell out  
  
of you!  
  
They begin to kiss passionatly.  
  
Suddenly, the door opens and Allan enters, along with another GIRL. She is HEATHER, a typical valley girl.  
  
WALTER  
  
Guys, Heather and I wondered  
  
where---  
  
(sees the two on the bed)  
  
OH, SWEET JESUS!  
  
Heather can't open her mouth in shock.  
  
MARK  
  
Haven't you two heard of  
  
knocking?  
  
WALTER  
  
Well this ain't your room  
  
now, is it?  
  
TRISHA  
  
Just give us one sec, 'kay?  
  
WALTER  
  
Sure. Okay. Heather, move  
  
your groove thing.  
  
HEATHER  
  
Yeah, I, like, think this  
  
is the best thing to do  
  
under these circumstances.  
  
MARK/TRISHA  
  
(both)  
  
MOVE!!!!!!!!!!  
  
Walter and Heather exit, shutting the door, but their voices are still heard for a little while.  
  
HEATHER  
  
(o.s.)  
  
Are they, like, always  
  
like this?  
  
WALTER  
  
(o.s.)  
  
More often than you think.  
  
They're really hormonally  
  
advanced!  
  
HEATHER  
  
(o.s.)  
  
Like, ewww...  
  
As their voices fade, Mark and Trisha return to their passionate making out.  
  
CUT TO:  
  
22EXT. LODGE - MORNING  
  
STALKER'S POV: Neither Mark, or Trisha, realize that the Stalker is quetly watching them through the windows.  
  
CUT TO:  
  
23EXT. LAKE - DAY  
  
It is obviously that a few hours have passed and that Allan had been giving everyone a tour of the area. The lake is obviously the last stop.  
  
One more GIRL is seen in the group. MONICA, very pretty, but obviously a terrible snob.  
  
ALLAN  
  
And this is obviously our  
  
lake. You are welcome to  
  
swim before business starts.  
  
We even have a rubber boat  
  
in the shed, you all can  
  
use it whenever you feel  
  
like it.  
  
MARK  
  
Hey, isn't that the lake  
  
where the dead animal  
  
carcasses where found?  
  
ALLAN  
  
(sighs)  
  
Okay, I know that this would  
  
come sooner or later.  
  
SCOTT  
  
It's okay, Allan. You don't  
  
have to.  
  
CLAIRE  
  
Yeah, really. We already heard  
  
those stories and it will be  
  
just a useless waste of nerves  
  
on your part.  
  
ALLAN  
  
No, no, it's fine. Now, to  
  
answer all your questions.  
  
Thirty years ago, my brother  
  
owned this lodge. He got  
  
killed, some nasty things  
  
happened, but it's all in the  
  
past now. Now, even though  
  
my parents are totally against  
  
this, I decided to reopen this  
  
place in my brother's memory.  
  
I want to make his dream  
  
come true. That is all there is  
  
to it. I hate to disappoint you,  
  
or the gossiping spinsters, but  
  
there is no curse on Green Hills  
  
Lodge.  
  
CLAIRE  
  
Allan, everything's fine. We  
  
don't go around spreading crazy  
  
rumors.  
  
MARK  
  
Speak for yourself.  
  
ALLAN  
  
Cool it Mark. Now, I have  
  
to go to town to settle  
  
a few things with the  
  
advertising company. Can  
  
you guys manage without  
  
me?  
  
SCOTT  
  
Yeah, don't worry.  
  
ALLAN  
  
Okay, then. See you at  
  
night.  
  
Allan crosses out of FRAME. As soon as he exits, Monica steps out.  
  
MONICA  
  
He forgot to mention that  
  
the townsfolk call this  
  
rotting termite buffet  
  
the Dead Lodge.  
  
SCOTT  
  
Monica, how many times did  
  
I tell not to expose our  
  
bitcheness twenty four-seven?  
  
MONICA  
  
I was just telling the truth.  
  
SCOTT  
  
Whatever. Now, you guys wanna  
  
go swimming? This April is  
  
really warm, we should take  
  
advantage of that. And let's  
  
get that boat out of the shed.  
  
MARK  
  
Sounds great! Hey, Trish,  
  
get out that kinky bikini  
  
you put on just for me.  
  
WALTER  
  
Yeah, you and half the state.  
  
MONICA  
  
You all are forgeting one  
  
tiny detail.  
  
CLAIRE  
  
What is it? Your Highness  
  
needs someone to put her  
  
swimming suit on?  
  
MONICA  
  
Screw you, Claire. Anyway,  
  
don't you people remember?  
  
I am sooo not going to  
  
swim in a lake where they  
  
found rotting animal corpses.  
  
SCOTT  
  
Get over yourself, Monica.  
  
HEATHER  
  
Well, I, like totally, totally  
  
agree with her. I mean, like,  
  
rotten corpses? Ewww!  
  
SCOTT  
  
(glaring)  
  
Everyone just shut up! Now  
  
go and put your swimming  
  
suits and then we are going  
  
to have and have wonderful,  
  
freaking super, time!!!  
  
Got it?  
  
ALL (EXCEPT CLAIRE)  
  
(shocked)  
  
Yes.  
  
SCOTT  
  
Good. Now, who will help me  
  
get the boat out?  
  
No one answers.  
  
SCOTT  
  
(cont'd)  
  
Well?  
  
Still no answer from anybody.  
  
CLAIRE  
  
(rolls her eyes)  
  
For Christ's sake, already.  
  
I'll do it.  
  
Claire and Scott exit out of FRAME.  
  
CUT TO:  
  
24EXT. SHED - DAY  
  
Scott and takes out a key and opens the freshly painted door.  
  
He goes inside and tries to drag out a big bulk of rubber, the deflated boat.  
  
SCOTT  
  
Here, give me a hand.  
  
Claire grabs the other end of the boat and as they pull, something CLATTERS on the floor.  
  
Claire kneels down to pick up the object. It is a revolver.  
  
CLAIRE  
  
What's this?  
  
SCOTT  
  
Allan told me you can never  
  
be too careful.  
  
Scott takes the gun from Claire and puts it back on the shelf, then they fianll manage to get the bulky rubber pile outside.  
  
CLAIRE  
  
Now the most horrific part,  
  
inflating it.  
  
SCOTT  
  
Don't worry about. I think  
  
I saw a pump in the basement.  
  
CLAIRE  
  
Right... Hey, aren't nervous  
  
that that girl Joan never showed  
  
up?  
  
  
  
SCOTT  
  
Kind off. I can't believe  
  
someone would go slacking  
  
off on their first day of  
  
work. If she doesn't show  
  
up, you think you can manage  
  
with the kids by yourslef?  
  
CLAIRE  
  
I honestly don't know.  
  
Besides, I really think  
  
that I won't last here  
  
too long.  
  
SCOTT  
  
Because of that thing in  
  
Denver?  
  
CLAIRE  
  
Yes. I just... Can't help  
  
myself.  
  
SCOTT  
  
He doesn't deserve you.  
  
CLAIRE  
  
That's what they all say.  
  
So, what's up with the  
  
boat?  
  
SCOTT  
  
Right, the boat.  
  
They both grab the boat and exit.  
  
CUT TO:  
  
25EXT. LAKE - DAY  
  
Monica is lying in the boat. Heather is paddling around next her. They are making pointless chit chat.  
  
MONICA  
  
Why do you need tan anyway?  
  
HEATHER  
  
I think it helps to convert  
  
your skin to a darker color,  
  
so that you won't get sun  
  
burned during the summer.  
  
MONICA  
  
I asked for an answer, not  
  
rocket science thesis.  
  
HEATHER  
  
Like, whatever!  
  
The CAMERA PANS to Trisha and Mark, horsing around in the water, with obvious sexual underplay.  
  
The CAMERA then PANS to Claire, Walter, and Scott, sitting on the beach.  
  
CLAIRE  
  
I am the only one to blame  
  
for this. I knew what I was  
  
getting into, I knew he was  
  
married. But... I was just too  
  
dumb to realize anything. It  
  
all seems so stupid now.  
  
WALTER  
  
Well, why didn't you dump  
  
him when you found out that  
  
he wasn't going to leave his  
  
wife?  
  
CLAIRE  
  
At first, He was telling me  
  
thar his wife in evil bitch,  
  
driving him crazy with endless  
  
scandals and such. I believed  
  
him, even though that is what  
  
every married guy tells his  
  
girlfriend. Then, it became way  
  
too apparent and I finally  
  
understood everything but it  
  
was too late. I was already in  
  
love with him. Last week he  
  
called me and said that he would  
  
be in town and that we could  
  
meet. I want to talk to him,  
  
to tell him that it is over  
  
between us, but I am afraid.  
  
SCOTT  
  
Afraid of what?  
  
CLAIRE  
  
That I will not have enough  
  
strength to say no, as I  
  
usually do.  
  
WALTER  
  
Gee... You must be really  
  
miserable.  
  
CLAIRE  
  
I am. Oh, guys. Please  
  
don't tell Allan about  
  
this. I don't want him  
  
to know.  
  
WALTER  
  
Don't worry we won't.  
  
LOUD GIGGLING and SPLASHING is heard. The trio turns their heads at the lake.  
  
QUICK CUT: Trisha pushes Mark away, he falls into the water.  
  
TRISHA  
  
You gave me a hickie, you  
  
jerk-off!  
  
MARK  
  
Wanna get another one?  
  
He gets up on his feet and begins to kiss Trisha on the neck.  
  
QUICK CUT: Claire turns away in repulsion.  
  
CLAIRE  
  
God! It's like watching  
  
a Tinto Brass movie.  
  
WALTER  
  
Yeah. Imagine a whole year  
  
of that.  
  
Claire LAUGHS.  
  
CUT TO:  
  
26EXT. FORREST - DAY  
  
STALKER'S POV: He pulls away the branch to get a better view of the teens at the lake.  
  
The THEME begins to slowly filter in.  
  
CUT TO:  
  
27EXT. FORREST - DAY - A FEW HOURS LATER  
  
The teens have already finished their swimming. The boat is lying on the beach, while everyone is packing up their towles, getting ready to leave.  
  
MARK  
  
What about the boat?  
  
SCOTT  
  
Leave it, we'll take care  
  
of it tomorrow.  
  
MARK  
  
No skin of my nose.  
  
CUT TO:  
  
28INT. LODGE - MAID'S QUARTERS 1- LATE AFTERNOON  
  
Claire lies on her bed, reading a book. The bed next to her is a tangled mess of skirts, bell bottomed pants, and mini skirts.  
  
The door leading to the bathroom in the BG opens, and Trisha emerges into the FG, wearing a bathrobe and drying her wet hair with a towel.  
  
TRISHA  
  
God, I am hungry. Who is  
  
supposed to be the cook  
  
here anyway?  
  
Claire puts down her book.  
  
CLAIRE  
  
You won't believe.  
  
TRISHA  
  
No, really, who?  
  
CLAIRE  
  
Monica.  
  
TRISHA  
  
(falling on her bed)  
  
No freakin' way!  
  
CLAIRE  
  
Yes freakin' way.  
  
TRISHA  
  
Why did that snot decide  
  
to become a cook?  
  
CLAIRE  
  
She said something about  
  
taking a gourmet cook  
  
class and that this job  
  
would widen her experience.  
  
TRISHA  
  
So she's a gourmet cook.  
  
CLAIRE  
  
Yep.  
  
TRISHA  
  
With the way she is acting,  
  
it seems that we'll be the  
  
the ones doing the all the  
  
cooking and giving her foot  
  
massages in between.  
  
CLAIRE  
  
I hear that.  
  
A KNOCK is heard.  
  
TRISHA  
  
Come in.  
  
The front door opens and Mark enters.  
  
MARK  
  
Wait, is this your room?  
  
CLAIRE  
  
Well we're not playing  
  
shuffle board, if that's  
  
what you mean.  
  
  
  
Trisha snickers.  
  
MARK  
  
Don't you know? About this  
  
room?  
  
TRISHA  
  
Jeez, Mark! You know every  
  
single old wives tale about  
  
this hell hole.  
  
MARK  
  
This is the room where they  
  
found all those blood written  
  
signs!  
  
TRISHA  
  
Ewww!!!  
  
CLAIRE  
  
You are kidding!  
  
MARK  
  
And remember that infamous  
  
fire that nearly leveled the  
  
lodge to the earth?  
  
TRISHA  
  
God, I almost wish it had!  
  
MARK  
  
That is where the fire started.  
  
In this very room.  
  
TRISHA  
  
Okay, I'm really not comfortable  
  
with you telling me ghost stories  
  
about a room I'll be sleeping in  
  
for the next few months.  
  
MARK  
  
You don't have to sleep here,  
  
you know. We can bunk together  
  
for some NC-17 fun.  
  
TRISHA  
  
Zip it up, Mark. Not now.  
  
MARK  
  
Whatever. So, You gals are  
  
hungry? We're getting ready  
  
for lunch.  
  
TRISHA  
  
Sure. Just give me a sec.  
  
I need to change.  
  
MARK  
  
Can I stay?  
  
CLAIRE  
  
Just leave, you perv!  
  
TRISHA  
  
Claire's right. Just go  
  
already!  
  
Mark grins and quickly exits.  
  
CUT TO:  
  
29INT. LODGE - EMPLOYEE LOUNGE - LATE AFTERNOON  
  
Everyone's gathered around the table, dipping tortilla chips into guacamole. Dirty plates with hamburger left overs are pushed away into the center of the table.  
  
CLAIRE  
  
Jesus, Monica. This home  
  
made guacamole's fantastic!!  
  
MONICA  
  
Thanks. And this is my  
  
simplest recipe.  
  
CLAIRE  
  
You will have to share some  
  
of your recipes with me.  
  
MONICA  
  
A magician never reveals  
  
her secrets.  
  
MARK  
  
Hey guys, look what I found!  
  
Mark takes out a piece of paper out of his pocket.  
  
MONICA  
  
What is this?  
  
MARK  
  
A letter that a guest never  
  
send home. I discovered it  
  
while doing my daily rummaging.  
  
MONICA  
  
Even though it is obviously  
  
a load of bull, but what does  
  
it say.  
  
MARK  
  
(begins to read)  
  
Dear Folks. The Dead Lodge  
  
is a great place. No, really!  
  
Well, except at night when  
  
the manager turns into a  
  
cat creature and devours the  
  
guests one by one.  
  
REVERSE ANGLE ON MARK: The paper he is holding is blank.  
  
MARK  
  
(cont'd)  
  
The menu is also fantastic.  
  
Last night we had consommé  
  
of a dead deer carcass we  
  
fished out at the lake. It  
  
was splendid!  
  
Everyone begins to laugh. Claire chokes on her chip.  
  
MARK  
  
(cont'd)  
  
Well, that's all. I love  
  
you. P.S. Gotta run before  
  
the cat---  
  
(puts the paper away)  
  
And that's where it ends.  
  
TRISHA  
  
(in between laughs)  
  
That was so not funny!  
  
CLAIRE  
  
Yeah, it was freaking hilarious!  
  
MARK  
  
Thank you! You can catch  
  
me here every night at ten!  
  
MONICA  
  
I wouldn't catch you even  
  
if my life depended on it.  
  
Mark snickers. He then takes a chip, dips into guacamole and stuffs it in his mouth. Something strange happens. He maons strangly and grabs his neck. The THEME begins to fade in.  
  
WALTER  
  
Are you okay?  
  
Mark croaks and collapses on the floor, beating in violent convulsions and moaning in pain.  
  
TRISHA  
  
What's going on? Somebody  
  
help him!  
  
Mark stops convulsing and lies still on the floor, his eyes wide open in a state of shock.  
  
CLAIRE  
  
I know CPR.  
  
TRISHA  
  
Well then do it!  
  
Claire kneels down to Mark and places her mouth to his. Everyone looks at the nervously.  
  
Suddenly Claire let's out a suffocated scream and jumps up to her feet.  
  
CLAIRE  
  
Mark, you idiot!!  
  
Mark jumps out, grinning like a five year old.  
  
MARK  
  
Ta da!!  
  
HEATHER  
  
Okay... Why?  
  
SCOTT  
  
Yeah, what's your problem?  
  
MARK  
  
Hey, I'm just doing what  
  
the brochure says. Full  
  
time drama club.  
  
CLAIRE  
  
That's for kids, you dickhead!  
  
MONICA  
  
I don't think he wen't that  
  
far away. By the way, who is  
  
supposed to take care of the  
  
kids, anyway?  
  
CLAIRE  
  
I am, along with that girl  
  
Joan, but she never showed  
  
up. I wonder whatever  
  
happened to her?  
  
Suddenly, the telephone RINGS.  
  
CLAIRE  
  
I'll pick it up.  
  
Claire walks up the telephone and picks up the receiver.  
  
CLAIRE  
  
Green Hills Lo---  
  
RASPY BREATHING is heard. A strange, sexless voice follows.  
  
VOICE  
  
(o.s.)  
  
Al... Essa... Leave. They  
  
did... Killed.... Why...  
  
They... Leave... Why...  
  
CLAIRE  
  
Hello? Who is this?  
  
VOICE  
  
(o.s.)  
  
You... Will... Pay.. Alessa...  
  
Claire takes the receiver and points it in the direction of evryone else.  
  
VOICE  
  
(o.s.)  
  
I forgive... Not your...  
  
Fault... Alessa...  
  
Everyone, save for Monica, get a creeped out expression on their faces.  
  
MONICA  
  
This is ridiculous.  
  
Monica grabs the receiver away from Claire.  
  
MONICA  
  
Listen, you perv! This is  
  
a place of business. If you  
  
you want to get off like that,  
  
then call a sorority house, or  
  
something.  
  
VOICE  
  
(o.s.)  
  
(calmly)  
  
You will die before morning.  
  
The person hangs up. Monica slams down the receiver.  
  
HEATHER  
  
Okay, that was, like, the  
  
crepeest phone call I ever  
  
heard.  
  
CLAIRE  
  
Monica, you shouldn't have  
  
said that. Maybe it is some  
  
nut who---  
  
MONICA  
  
Oh, grow up, Claire! It's  
  
probably just some college  
  
preps high on weed.  
  
Everyone looks at each other nervously, trying to convince themselves with Monica's words.  
  
CUT TO:  
  
30INT. LODGE - KITCHEN - LATE AFTERNOON  
  
Clire is washing the dishes, while Monica dries them with a towel and places them in the cupboard.  
  
MONICA  
  
Those prank phone calls  
  
really piss me off.  
  
CLAIRE  
  
Why is that?  
  
MONICA  
  
They are just so annoying!  
  
You know that movie "Jerry  
  
Maguire?"  
  
CLAIRE  
  
Yeah.  
  
MONICA  
  
Well when it first came out,  
  
some morons kept calling me  
  
every other hour, asking me  
  
to show him the money.  
  
CLAIRE  
  
Some people just need to  
  
grow up, like Mark for  
  
example.  
  
MONICA  
  
Yeah. You know, this one  
  
time---  
  
As Monica continues with her ranting, Claire looks up from her dishes and cocks her head to the side. Does she see something?  
  
The CAMERA PANS SLOWLY to look over her shoulder.  
  
The window pane is dirty and it's a bit difficult to see, but there is SOMETHING standing out there by a tree. But it stands, doesn't move... Is it a building?  
  
CUT AWAY to see Claire using her dishcloth to clear the glass. When we CUT BACK, the shape is gone.  
  
REACTION SHOT: Claire. Curious. A cold chill...  
  
MONICA  
  
Claire? Hello?  
  
Claire shudders snaps back into reality.  
  
CLAIRE  
  
Yes?  
  
MONICA  
  
Are you okay? Did you see  
  
something?  
  
CLAIRE  
  
Well, actually... No, forget  
  
about.  
  
MONICA  
  
Great, now you are going  
  
crazy.  
  
Claire does not pay attention to Monica's insults and gets back to her chore.  
  
CUT TO:  
  
31INT. LODGE - EMPLOYEE LOUNGE - EVENING  
  
Behind the windows, it is seen that the sun has almost set.  
  
The teens are gathered around the television set, watching a children's choir sing an Easter song.  
  
MONICA  
  
Okay... Why do we even get  
  
the Christian chanel?  
  
WALTER  
  
I think it's for the more  
  
conservative costumers.  
  
MONICA  
  
So, does that mean all the  
  
guests will be from Arkansas?  
  
WALTER  
  
Not everyone in Arkansas  
  
belongs to the KKK, Monica.  
  
MONICA  
  
Whatever, I'm not going to  
  
argue with you.  
  
HEATHER  
  
In any case, why are we  
  
like watching this channel  
  
in the first place?  
  
CLAIRE  
  
The concert looks good.  
  
Besides, it's Easter.  
  
The only thing the other  
  
channels are showing are  
  
big budget blockbusters  
  
from seven years ago.  
  
MONICA  
  
God! Easter's hell!  
  
SCOTT  
  
It could be worse.  
  
MONICA  
  
How? Ho could it possibly  
  
be---  
  
WALTER  
  
(looking out the window)  
  
Man, the dusk looks great  
  
in this parts! I'll think  
  
I'll walk around the woods  
  
for a little while.  
  
MONICA  
  
Knock yourself out.  
  
Walter gets up and exits.  
  
TRISHA  
  
Oh, forgot to tell you. Walter's  
  
a real nature freak.  
  
HEATHER  
  
Well, like obviously.  
  
CUT TO:  
  
31EXT. LAKE - EVENING  
  
Walter is wandering aimlessly aroudn the beach, stopping here and there and skipping stones across the water.  
  
STALKER'S POV: He watches Walter, slowly and carefully, but unlike all the other times, this time he does not hide behind anything.  
  
CU ON WALTER: He sees someone.  
  
WALTER  
  
Hi. I didn't know that anyone  
  
lived in this area.  
  
Walter begins to move towars the Stalker, unsuspecting of anything.  
  
WALTER  
  
Nice to meet you. I work  
  
over at the Gr---  
  
Suddenly, the Stalker grabs Walter by the hair. There is a sudden, VIOLENT MUSICAL CHORD!  
  
WALTER  
  
(panicking)  
  
What are you doing?!  
  
ECU ON WALTER: Walter quickly grabs the Stalker's strong hand and tries to lossen the grasp, unsuccessfully. Then, before he has a chance to react, the Stalker jerks Walter's head upwards, and jams the familiar hunting knife below his chin. BLOOD begins to pour in a steady trickle down Walter's neck. Walter's body violently convules, red bubbles begin to fizz out of his mouth. A look of surprise and unbelief is in his eyes.  
  
STALKER'S POV: He retracts the knife from Walter's throat, and the latter collapses on the ground like a sack of potatoes.  
  
CROSS CUT TO:  
  
ECU: The TELEPHONE rings.  
  
CUT TO:  
  
32INT. LODGE - EMPLOYEE LOUNGE - EVENING.  
  
Everyone turns around o face the ringing telephone.  
  
MONICA  
  
It better not be the perv!  
  
The telephone keeps ringing.  
  
HEATHER  
  
Just ignore it.  
  
CLAIRE  
  
(sighs)  
  
We can't. It is part of  
  
our job.  
  
MONICA  
  
(shrugs)  
  
It's your funeral.  
  
CLAIRE  
  
(sarcastic)  
  
You're hilarious.  
  
Claire approaches the endlessly ringing telephone and picks up the receiver.  
  
CLAIRE  
  
Green Hills Lodge, how may  
  
I help you?  
  
VOICE  
  
(o.s.)  
  
Leave... Alessa wants it...  
  
Leave now... Alessa... It's...  
  
Daddy... Daddy will.... Fix...  
  
Everything... Leave... Leave...  
  
LEAVE!!!  
  
CLAIRE  
  
GO TO HELL, you psycho!!!  
  
Claire slams down the reciever.  
  
MARK  
  
Now that's just ain't right.  
  
TRISHA  
  
Hey, Mark. What do you say  
  
we also go outside... For  
  
a walk.  
  
CLAIRE  
  
Guys, I don't think that we  
  
should be doing walks. Those  
  
calls are getting really creepy.  
  
SCOTT  
  
I think she's right. Damn it,  
  
we shouldn't have let Walter  
  
go there either.  
  
TRISHA  
  
Oh, come on! It's not like  
  
that perv is in the same  
  
area code as us.  
  
MARK  
  
Yeah. Get some balls.  
  
Giggling, the two exit out the door, holding hands.  
  
CLAIRE  
  
One of these days their  
  
hormones will overflow  
  
and drown us all.  
  
HEATHER  
  
God! I am turning off the  
  
t.v. I already got the point  
  
that I'm going straight to  
  
Hell unless I am a Southern  
  
Baptist.  
  
Heather grabs the remote and turns off the television set.  
  
SCOTT  
  
So... What now?  
  
HEATHER  
  
I, like, have this totally  
  
awesome idea!  
  
Heather takes out a deck of cards out of her pocket.  
  
MONICA  
  
We are going to play cards?  
  
HEATHER  
  
Yeah, a special version of  
  
poker.  
  
CLAIRE  
  
Strip poker? Because that  
  
was fun and original the  
  
first ten times everyone did  
  
it.  
  
HEATHER  
  
No! Truth-or-Dare poker.  
  
MONICA  
  
How the hell do you play  
  
that?  
  
HEATHER  
  
Easy. You play it just like  
  
regular poker, except when  
  
someone loses a hand, they  
  
will be asked a truth-or-dare  
  
question by the person they  
  
lost to.  
  
SCOTT  
  
Sounds fun.  
  
CLAIRE  
  
Yeah, let's do it.  
  
MONICA  
  
Whatever.  
  
HEATHER  
  
Cool! Who's shuffling?  
  
ALL  
  
You.  
  
HEATHER  
  
Okay, that is so wrong.  
  
The four sit around the table. Heather shuffles the cards and starts giving them out to each player one by one.  
  
CUT TO:  
  
33EXT. MONTAGE - LODGE - EVENING  
  
The evening slowly fades to night and the lodge becomes dark and foreboding. The only lights that are seen are in the employee lounge windows.  
  
CUT TO:  
  
34INT. LODGE - EMPLOYEE LOUNGE - NIGHT.  
  
The poker game is in full blast. So far, Scott is missing his shirt, Heather's face is painted like that of a street hooker. The only ones that seem to be winning are Claire and Monica.  
  
MONICA  
  
You know, Heather, you really  
  
suck at poker to suggest that  
  
kind of risqué version of it.  
  
HEATHER  
  
It seems that today is totally  
  
not my day.  
  
CLAIRE  
  
To tell you the truth, this  
  
is, like, the first time I'm  
  
playing poker. And I can't  
  
believe that I haven't lost  
  
a game!  
  
MONICA  
  
(scoffs)  
  
Beginner's luck.  
  
SCOTT  
  
Can we continue now?  
  
HEATHER  
  
Fine.  
  
She sighs and spreads her cards on the table, face up. Everyone looks at them and begins too laugh and ooh.  
  
MONICA  
  
My god, you suck at this!  
  
SCOTT  
  
Who has the most points?  
  
CLAIRE  
  
I do!  
  
(to Heather)  
  
Truth or dare?  
  
HEATHER  
  
Let's see... Truth. I, like,  
  
learned that the hard way.  
  
CLAIRE  
  
Okay. Have you ever gone  
  
a day without saying like?  
  
MONICA  
  
God, Claire! Where is the  
  
spice?  
  
CLAIRE  
  
Well, I am sorry, but I  
  
think we are running out  
  
of ideas by now. By the  
  
way, does anyone know  
  
what time it is?  
  
Scott looks at his wrist-watch.  
  
SCOTT  
  
Thirty after nine, why?  
  
CLAIRE  
  
What's taking them so long?  
  
How long do these nature  
  
walks lasr for?  
  
MONICA  
  
Don't worry about them! They  
  
are not that stupid to wander  
  
off deep into the woods.  
  
CLAIRE  
  
Well... You are probably  
  
right, but still, I have  
  
this very unsettling  
  
feeling.  
  
MONICA  
  
Whatever, So, who's hungry?  
  
I'll go and make some hot  
  
dogs.  
  
CLAIRE  
  
Shouldn't we wait for Mark,  
  
Walter, and Trisha?  
  
MONICA  
  
Now, I don't know about  
  
Walter, but I am very, and  
  
I do mean very, positive  
  
that Mark and Trisha are  
  
eating. Although I am sure  
  
there is no food involved.  
  
SCOTT  
  
Now that was just uncalled  
  
for.  
  
MONICA  
  
As I said before, what-  
  
freaking-ever!  
  
Monica puts down her cards, stands up from her chair and crosses out of FG.  
  
CUT TO:  
  
35EXT. LODGE - GARDERN - NIGHT  
  
Trisha and Mark are making out passionatly on the bench. The scene bares a major resemblance to the one that took place here thirty years ago with Elaine and William.  
  
ECU ON TRISHA & MARK: Trisha unlocks her lips from Mark.  
  
MARK  
  
What's wrong?  
  
TRISHA  
  
We've been making out the  
  
whole evening. When can  
  
we... You know...  
  
MARK  
  
Speaking of which, I have  
  
this totally awesome idea!  
  
TRISHA  
  
What is it?  
  
MARK  
  
How about we add some adrenaline  
  
to our naughtiness.  
  
TRISHA  
  
How?  
  
MARK  
  
The guest rooms are open.  
  
TRISHA  
  
Get out! Do you really want  
  
to?  
  
MARK  
  
Yeah.  
  
TRISHA  
  
Oh, god! That will be so  
  
cool!!!  
  
STALKER'S POV: He slowly watches as Mark and Trisha jump up from the bench and, giggling, run off. As they dissappear from he MS, the Stlaker begins to slowly move towards the lodge.  
  
A strange DRAGGING SOUNG is heard. The CAMERA pans to the ground, slightly off to the side and...  
  
...With a MUSICAL STING Walter's blood drenched body is revealed. The Stalker is dragging him along with his scarred hand. A bloody trail is left on the grassy ground.  
  
CUT TO:  
  
36INT. LODGE - KITCHEN - NIGHT  
  
A POT OF WATER is boiling on the stove, while Monica approaches a large refrigerator, opens it and takes out a pack of hot dogs, along with mustard and ketchup. She then opens a pantry and takes out a package of buns. She puts the objects on the table and begins to remove the plastic packaging.  
  
CU ON MONICA:  
  
MONICA  
  
Jeez, why did I volunteer  
  
to cook THEIR dinner? That  
  
was not in my job description.  
  
Oh, well. No use complaining  
  
now.  
  
Suddenly, A SCARRED HAND grabs Monica by the back of her neck. She gasps, more in surprise, then terror.  
  
MONICA  
  
Who is it? Mark? Stop it,  
  
that's really not funny!  
  
REVERSE ANGLE ON MONICA: The Stalker jerks her towards the stove, Monica SHRIEKS.  
  
MONICA  
  
STOP! My dad's a lawyer,  
  
you know.  
  
The stalker positions Monica right abovet the pot.  
  
CU on the boiling water.  
  
ECU ON MONICA: A look of terror forms on her face, as she realizes that this is not a joke.  
  
MONICA  
  
WAIT! NO! STOP! STOP!  
  
The Stalker shoves the screaming girl's face int he pot of boiling water. She begins to loudly gurgle in pain. The Stalker holds. Holds. Holds for a little bit longer and shoves Monica's face out of the pot. Her face is horribly burned with giant, bloated blisters. But she is still alive. The Stlaker throws the helpless girl on the ground. She begins to try crawling away, but has very little sucess. Monica is moaning in pain, with drops of water falling off her scladed face.  
  
STALKER'S POV: He opens and a drawer and spies A BUTCHER KNIFE. He takes, but then immediately sees something better and puts the knife back. The Stalker then grabs A MEAT HAMMER and raises it above Monica.  
  
MONICA  
  
(weakly)  
  
No... Please, no... I'll do  
  
anything...  
  
The hammer goes down, making a sickening, WET CRUNCH. Monica hardly lets out a moan. The hammer goe sup again, stained with blood and a yellowish mess. Then it goes down again, and again, and again.  
  
CROSS CUT TO:  
  
37EXT. TOWN - BUSINESS PLAZA - NIGHT  
  
The CAMERA pans to the only office with the lights still on.  
  
Judging by the dign on top, we see that it an advertising agency.  
  
The front door opens and ALLAN emergers, followed by SEAN, the agency employee.  
  
ALLAN  
  
...And don't forget to add  
  
that the longdistance is  
  
free. Thank you so much, Sean.  
  
You're a life saver.  
  
SEAN  
  
No worries, Allan. I'll get  
  
the comercial running by the  
  
end of the week.  
  
ALLAN  
  
Great. Well, I got to run.  
  
SEAN  
  
Aw, come on.  
  
(winking)  
  
There's a great strip club  
  
I know.  
  
ALLAN  
  
Thanks, but no thanks. I got  
  
get to the lodge as early  
  
as possible. The staff I got...  
  
I think they might all kill  
  
themselves before the night is  
  
out.  
  
SEAN  
  
Is that all?  
  
ALLAN  
  
No... There is this one girl,  
  
Claire. I'm trying to win  
  
her heart by the end of the  
  
week.  
  
SEAN  
  
I hope you will.  
  
ALLAN  
  
Yeah. Well, bye Sean. See  
  
you later.  
  
SEAN  
  
Bye, Allan.  
  
Allan gets in his car, the engine starts and as the car begins to pull out of the drive way, Sean goes back into the office and its lights go off.  
  
CUT TO:  
  
38INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Heather is wiping her the make up off of her face with a hankerchief with one hand, and opening the window with another, while Claire and Scott, his shirt back on, are still sitting behind the table.  
  
HEATHER  
  
There. We can finally get  
  
some air here.  
  
SCOTT  
  
Yeah. I could swear that  
  
Monica used some beans while  
  
making lunch.  
  
HEATHER  
  
Like totally!  
  
CLAIRE  
  
She is taking her time making  
  
dinner, isn't she.  
  
HEATHER  
  
Yeah. Maybe we---  
  
Before she has a chance to finish, the telephone rings.  
  
CLAIRE  
  
Damn it! If it's that creep,  
  
the I swear to...  
  
She picks the receiver.  
  
CLAIRE  
  
(rudely, annoyed)  
  
Green Hills Lodge, Employee  
  
speaking.  
  
VOICE  
  
(o.s.)  
  
Daddy loves Alessa... Sweet,  
  
pretty Alessa... Daddy...  
  
will take care of her...  
  
CLAIRE  
  
Just stop it already! You  
  
had your fun. This is a  
  
place of business.  
  
VOICE  
  
(o.s.)  
  
I will throw you off the  
  
roof and lick up what's  
  
left!! This is Easter is  
  
dark.... Dark Easter! Dark  
  
Easter! Dark Easter!  
  
The caller LAUGHES INSANELY and hangs up. Claire does the same, she has shocked and repulsed look on her face.  
  
HEATHER  
  
What did he want?  
  
CLAIRE  
  
Let's just say that I won't  
  
ever be able to look at a  
  
phone the same way again.  
  
HEATHER  
  
Well, should we, like call  
  
the police?  
  
CLAIRE  
  
Yeah.  
  
Claire picks up the receiver, but Scott takes it away and hangs it back up.  
  
SCOTT  
  
Wait. I am sure that Allan  
  
wouldn't want the police  
  
getting involved.  
  
CLAIRE  
  
But... Scott! It's against  
  
the law to do this. He can't  
  
get away terrorizing us like  
  
this.  
  
SCOTT  
  
Let's be calm and rational.  
  
I am sure that this guy is  
  
already bored with us. So,  
  
let's just forget about it.  
  
Just a couple of prank phone  
  
calls can't hurt anyone.  
  
CLAIRE  
  
He said that he would throw  
  
me off the roof and lick up  
  
what's left.  
  
HEATHER  
  
Ewww... That's soo not right!!  
  
Why would he want's lick up  
  
a corpse thrown off the roof?  
  
SCOTT  
  
Okay, so they are really  
  
disturbing phone calls,  
  
but that doesn't change  
  
anything. In any case,  
  
let's see what's taking  
  
Monica so long.  
  
CLAIRE  
  
Right.  
  
The trio moves the towards the door.  
  
CUT TO:  
  
39INT. LODGE - KITCHEN - NIGHT  
  
Claire, Scott, and Heather enter. The look around the themselves.  
  
REVERSE SHOT: Everything is neat and clean. There is no sign of what has happened. A plate with a pile of hot dogs and sauces rests ont he counter. A steaming pot sits peacefully on the stove.  
  
HEATHER  
  
Nice of her to finish the  
  
hot dogs and turn of the  
  
stove before taking off.  
  
SCOTT  
  
Where did she go? Join the  
  
others for a nature walk?  
  
CLAIRE  
  
Am I the only one sensing  
  
that something is wrong?  
  
HEATHER  
  
Maybe she went to spy on  
  
Mark and Trisha, take some  
  
rather revealing photos and  
  
then black mail them. 'Cause  
  
I would, like sooo totally do  
  
it.  
  
SCOTT  
  
Okay... That was really  
  
weird.  
  
  
  
HEATHER  
  
Well, let's eat. Less of them,  
  
more for us.  
  
The trio uproach the counter. Heather takes a hot dog and bites off a portion. Then, she sees something amiss in the pot.  
  
HEATHER  
  
What's this?  
  
Heather puts down her half eaten hot dog and grabs a pair of tongs lying nearby. With them she fishes out crooked, pinkish gray strips.  
  
CLAIRE  
  
I... Have no earthly idea.  
  
They... They could be  
  
overcooked hot dogs, but  
  
they don't look anything  
  
remotely like one.  
  
SCOTT  
  
Stringy hot dogs?  
  
HEATHER  
  
Like, whatever. As long as  
  
the hot dogs taste good.  
  
Heather dumps the tongs with the strips back into the pot and goes back to her hot dog. Scott joins, while Claire stands where she was, suspiciously eyeing the pot.  
  
ECU: Pot. The CAMERA ZOOMS IN CLOSER and closer.  
  
SCOTT  
  
Claire? Aren't you gonna  
  
join us?  
  
CLAIRE  
  
No thanks. I just lost my  
  
appetite.  
  
HEATHER  
  
Why? These dogs are all beef!  
  
The taste is fantastic!  
  
CLAIRE  
  
Just forget about. Enjoy  
  
those your self, guys. I'll  
  
be at the at the lounge.  
  
SCOTT  
  
See you later. You sure  
  
you're not hungry?  
  
CLAIRE  
  
Yeah. I'm sure.  
  
Claire crosses towards the exit door, while Scott and Heather wolf down the hot dogs.  
  
CUT TO:  
  
40INT. LODGE - GUEST ROOM - NIGHT.  
  
There is no light, safe for the small lam on the bed stand. Trisha is curled up in a ball, lying on the bed with two blankets wrapped around her snuggly. Mark is standing by the bed, fully clothed, buttoning the last two buttons on his shirt.  
  
TRISHA  
  
Mark, don't go. I thought  
  
you said we will snuggle  
  
afterwards.  
  
MARK  
  
Yes, and we will as soon  
  
as I'll smoke a joint.  
  
TRISHA  
  
I thought you quit.  
  
MARK  
  
Yeah, but its been a long  
  
day and... Come on, just  
  
one. Please?  
  
TRISHA  
  
Whatever, but be back quickly!  
  
MARK  
  
Thanks, Doll.  
  
TRISHA  
  
Don't call me that.  
  
MARK  
  
Sorry, Doll.  
  
TRISHA  
  
JUST GO!!  
  
Mark hurries out.  
  
CUT TO:  
  
41EXT. LODGE - TERRACE - NIGHT  
  
Mark leans against the railing and takes out a crudely rolled up marijuana joint.  
  
MARK  
  
God, how I missed you baby!  
  
Now where the hell is my  
  
lighter?  
  
Mark begins to flap around his pockets, searching for the lighter.  
  
Then, A MUSICAL STING!! A familiar pair of hands quickly puts A CLEAR PLASTIC BAG over Mark's head. He grunts, unable to scream. Mark begins to twist violently to escape, but the hands hold the bag firmly.  
  
ECU ON MARK'S HAND: He squeezes the joint. Dry Marijuana oozes pout of the paper.  
  
ECU ON MARK'S HEAD: He tries to breath, but his mouth and nostrils keep filling up with plasting. His mouth and eyes are wide open and one hand is desperately clawing at the bag.  
  
ECU ON MARK'S LEGS: They twist and turn violently. The squished joint falls ont he wooden floor. Mark's legs step on it, smearng dry pot leaves and paper pieces.  
  
ECU ON MARK'S FACE: His desperate gagging sounds quiet down and the eye swiden more and more.  
  
CROSS CUT TO:  
  
42INT. LODGE - GUEST ROOM - NIGHT  
  
Trisha has dozed off. She calmly naps in the large bed, surrounded by blankets and pillows.  
  
STALKER'S POV: He slowly opens the door and enters the room. The Stalker stares at Trisha for a moment and then looks at his hand. He is holding A PAIR OF SCISSORS! The Stalker slowly approaches Trisha and removes the blanket, exposing her bare legs. Trisha does not seem to feel anything. The Stalker slowly, carefully spreads her legs and raises the scissors. Then, with a sudden jerk and A MUSICAL CHORD the scissors goes down, slamming into its obvious target.  
  
ECU ON TRISHA: She opens her eyes and lets out A SCREAM, but it is cut by the Stalker's scrarred hand. Trisha is unable to put a fight and all she can do is to make out long, agonizing, muffled shrieks.  
  
CROSS CUT TO:  
  
43EXT. LODGE - NIGHT  
  
IN A WIDE SHOT: The lodge sits calmly on a hill, with a few windows ablaze with light. Moonlight casts eerie glow on it and from this point we realize how evil and foreboding the building looks like.  
  
CUT TO:  
  
44INT. LODGE - EMPLOYEE LODGE - NIGHT  
  
The lights are off, except for the bluish glow of the television set.  
  
Claire is huddled on the couch, pressing the buttons on the remote, flipping the channels.  
  
CLAIRE  
  
My god... Holiday t.v. Does  
  
suck!  
  
With no warning, the telephone rings again. Claire glares it out, but it show no intent of going silent. Claire groans and picks up the receiver.  
  
CLAIRE  
  
It better not be you, Bastard!  
  
VOICE  
  
(o.s.)  
  
Can't wait... To lick up all  
  
those delicious guts...  
  
Those yummy entrails!!!  
  
CLAIRE  
  
You need help! Just leave  
  
us alone already!  
  
VOICE  
  
(o.s.)  
  
You know how much Daddy  
  
loves his lovely Alessa?  
  
Alessa... So pretty...  
  
It was... Not... Her...  
  
Time... I will swim in  
  
your blood for this.  
  
CLAIRE  
  
GODAMMIT!!!  
  
VOICE  
  
(o.s.)  
  
I will carve you up like  
  
a thanksgiving turkey and  
  
drink you... I will truly  
  
enjoy mutilating and   
  
your corpse!!  
  
The caller laughs insanely and hangs up. Claire, with a terrified expression on her face, puts the receiver back in its place. She begins to look around herself, uneasily. MAIN THEME begins to slowly filter in.  
  
Suddenly, A VIOLENT CHORD!! A HAND grabs Claire and the lights flash on all of a sudden. She gasps ans turns around...  
  
  
  
...Only to find Scott, holding her shoulder and Heather, standing by the light switch.  
  
SCOTT  
  
You okay? You seem to be  
  
getting awfully jumpy.  
  
Claire brushes Scott's hand off and stands up.  
  
CLAIRE  
  
Scott, he called again.  
  
I... It sickens me even  
  
to think about what that  
  
pervert was saying. Anyway,  
  
I'm gonna call the police.  
  
HEATHER  
  
I think Claire's right.  
  
Claire goes towards the telephone.  
  
SCOTT  
  
Claire, wait. Please be  
  
sensible. Allan will be---  
  
CLAIRE  
  
Screw you and Allan!! I'm  
  
calling.  
  
Claire picks up the receiver.  
  
SCOTT  
  
Claire, please! Look, just  
  
ignore it this one time.  
  
If he calls again, then  
  
do as you wish.  
  
Claire sighs and puts the receiver back.  
  
CLAIRE  
  
You owe me for this.  
  
HEATHER  
  
Why won't this guy just  
  
give it a rest? And where  
  
has everyone else gone?  
  
SCOTT  
  
I'm sure that Walter and  
  
Monica will be back any  
  
minute now. As for Mark  
  
and Trisha, I wouldn't  
  
look for them, unless I  
  
feel like plucking my eyes  
  
out after I find them.  
  
CLAIRE  
  
Well this whole thing is  
  
getting a tad unsettling.  
  
You can't deny that.  
  
SCOTT  
  
Listen, it will all be  
  
okay in the morning and  
  
I am sure that this phone  
  
call was the last.  
  
HEATHER  
  
That's what you said about  
  
the last one.  
  
CLAIRE  
  
No matter what, I really  
  
think that we should at  
  
least TRY to look for the  
  
others.  
  
SCOTT  
  
Claire, Heather. Let's be  
  
calm and rational. I think  
  
that the best thing to do  
  
is sit here and wait for Allan  
  
to get back.  
  
CLAIRE  
  
God! When will he get here?!  
  
They all look at each other, then the clock, and then the telephone.  
  
CUT TO:  
  
45EXT. ROAD - NIGHT  
  
Allan's car drives past a familiar sign:  
  
GREEN HILLS LODGE  
  
Established 1972  
  
There is another sign nailed just below:  
  
CELEBRATIONG OUR GRAND RE-OPENING!!!  
  
CUT TO:  
  
46ALLAN'S CAR - NIGHT  
  
Allan is focused on the road, blues are playing from the radio.  
  
ALLAN  
  
Finally! Almost there...  
  
Then, he sees something ont he road and brakes to a screeching halt.  
  
CUT TO:  
  
47EXT. ROAD - NIGHT  
  
Allan gets out of the car and carefully approaches an unseen object.  
  
REVERSE SHOT: SOMETHING is sprawled across the road, because of the darkness it a difficult to see what exactly it is, but it vaguely resembles a human outline.  
  
ALLAN  
  
Hello? Are you alright? Sir?  
  
Ma'am?  
  
Allan walks up to the body, kneels down picks up the person's hand to checkthe pulse. There is a deep scar on the wrist.  
  
CROSS CUT TO:  
  
48INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire, Scott, and Heather are huddled around, watching a slasher flick on television.  
  
HEATHER  
  
So... I still don't get this  
  
ending.  
  
SCOTT  
  
Well you see, she is avenging  
  
the death of that one girl  
  
that---  
  
HEATHER  
  
What girl? That movie is,  
  
like, so totally confusing!  
  
CLAIRE  
  
Well, Heather, you see, these  
  
movies were never meant to  
  
have a rich, Cecile B. Demille  
  
plot.  
  
A SCREAM and SPLATTERING SOUND come out of the television.  
  
HEATHER  
  
Oh, my god, that's sick.  
  
Guys, I think I'll go to  
  
bed. I really don't feel  
  
like waiting for Allan.  
  
CLAIRE  
  
You sure? Maybe we should  
  
stick together.  
  
HEATHER  
  
Oh, god, Claire. I am so  
  
tired. Sure, I worry about  
  
those phone calls and the  
  
guys not showing up, but  
  
I'm only going upstairs!  
  
CLAIRE  
  
If you think that's for the  
  
best...  
  
SCOTT  
  
Maybe you should go, you  
  
do look tired.  
  
HEATHER  
  
'Kay. Night.  
  
SCOTT  
  
Good night.  
  
CLAIRE  
  
Good Night.  
  
Heather gets up and begins to wlak towards the door, but at the last second she turns around.  
  
HEATHER  
  
Claire?  
  
CLAIRE  
  
Yes?  
  
HEATHER  
  
Do you have a book I can  
  
borrow? I totally forgot  
  
to bring something to read.  
  
CLAIRE  
  
Sure. It's on my night stand.  
  
HEATHER  
  
Thanks.  
  
Heather exits thorugh the door. As she does, Scott turns to Claire.  
  
SCOTT  
  
What about you? Are you  
  
tired?  
  
CLAIRE  
  
Kind off, but I'll stick  
  
around a bit and wait for  
  
Allan. You know, maybe I  
  
should give him a chance.  
  
He seems really nicer. Nicer  
  
than HIM anyway.  
  
SCOTT  
  
Are you talking about the  
  
guy you had an affair with?  
  
CLAIRE  
  
I have a tendency to attract  
  
evil bastards, like some  
  
stupid magnet. Maybe this  
  
time I'll get luck and Allan  
  
will turn out to be a great  
  
guy.  
  
SCOTT  
  
I am sure he will.  
  
Claire smiles.  
  
CUT TO:  
  
49INT. LODGE - MAID'S QUARTERS 2 - NIGHT  
  
This is not the same room that we saw earlier, but is very similar.  
  
Heather is in the room. She takes the ribbon off her hair and heads off into the bathroom, leaving the door open. As she disappears behind door way, the lights in the bathroom go on and some shuffling is heard. Then sound of running water begins.  
  
CUT TO:  
  
50INT. LODGE - BATHROOM(SHOWER)- NIGHT  
  
Heather is calmly soaping her body, letting the shower massage her. She does not see as A BLACK SHAPE approaches the shower curtain.  
  
MAIN THEME begins to filter in at a slow pace.  
  
The shape just stands there for a minute or so, Heather completly oblivious to it. Then, it slowly turns and walks off. Heather finishes her showering and turns off the water. She stretches her arm outside the shower curtain and gets a towel.  
  
CUT TO:  
  
51 EXT. LODGE - MAID'S QUARTERS 2 - NIGHT  
  
Heather emerges from the bathroom, wearing a bath robe. Her hair are wet. She sits down on the bed and looks around with boredom.  
  
HEATHER  
  
Claire's book...  
  
Heathe gets up and crosses towards the door.  
  
CUT TO:  
  
52INT. LODGE - HALLWAY - NIGHT  
  
Heather crosses to the other side of the hallway and opens the door leading to the other maid's quarters. Suddenly, her eyes widen in shock.  
  
HEATHER  
  
What the---  
  
ECU ON HEATHER: Before she has chance to do anything, a hand clasps her mouth and quickly jerks her head upwards. Heather lets out a muffled screma. A KNIFE flies past her. The CAMERA PULLS BACK and we see that her throat is slit, with blood pouring down at a tremendous rate.  
  
CROSS CUT TO:  
  
53INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire jumps up from the couch. Scott eyes her suspiciously.  
  
CLAIRE  
  
Did you just hear that?  
  
SCOTT  
  
Hear what?  
  
CLAIRE  
  
It was like a muffled scream.  
  
SCOTT  
  
Maybe it's the television. I'll  
  
turn down the sound.  
  
CLAIRE  
  
Don't bother. I am sure it  
  
came from upstairs. I'll  
  
go check on Monica.  
  
Claire crosses towards the door, but suddenly, the telephone rings again.  
  
SCOTT  
  
Son of a bitch! He's still  
  
doing that!! I'll take care  
  
of it.  
  
CLAIRE  
  
Don't bother, Scott. I am a  
  
veteran.  
  
Claire picks up the receiver.  
  
CLAIRE  
  
You asked for it! I am now  
  
calling the police!  
  
VOICE  
  
(o.s.)  
  
I licked up their guts and  
  
you are next!!! It will be  
  
so yummy. Yummy. Yummy.  
  
YUMMY!!! Alessa wants it.  
  
My sweet, pretty little  
  
girl...  
  
Claire slams down the receiver and glares at Scott.  
  
CLAIRE  
  
I don't care what you say,  
  
but I'm calling the police.  
  
SCOTT  
  
Go ahead.  
  
Claire picks up the receiver again, but suddenly the television goes off, the lights deem and the whole room is swallowed by darkness.  
  
CLAIRE  
  
Scott! What happened?!  
  
SCOTT  
  
That rust bucket of a generator  
  
flaked out on us. Hold on... I  
  
have a lighter.  
  
Scott takes out a lighter out of his pocket anf flickers it on. He crosses towards the candlestick and lights the candles it holds. It casts an eerie, orange glow across the room.  
  
SCOTT  
  
(cont'd)  
  
I'll go to the basement to  
  
check it out. You stay here.  
  
CLAIRE  
  
But...  
  
SCOTT  
  
Stay. Here. I am actually  
  
also beginning to suspect  
  
that something has gone  
  
really wrong.  
  
He begins to walk towards the door, with a flickering lighter lighter still in his hand.  
  
CLAIRE  
  
Scott?  
  
Scott stops.  
  
SCOTT  
  
Yeah?  
  
Claire is obviously uneasy.  
  
CLAIRE  
  
(pauses)  
  
Take care.  
  
SCOTT  
  
Yeah.  
  
Scott continues on his way.  
  
CUT TO:  
  
54INT. LODGE - BASEMENT - NIGHT  
  
The whole place is pitch black. The only light is coming from Scott's lighter.  
  
SCOTT  
  
Where is that thing?  
  
Scott sees a vague outline of a generator and walks towards it.  
  
ECU ON THE GENERATOR: The switch is in the OFF position.  
  
SCOTT  
  
Who could've...  
  
Something GLIMERS in the corner. We realize that it is A HATCHET!  
  
CROSS CUT TO:  
  
55INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire is sitting on the couch, next to the telephone. She slowly begins to reach for the receiver, but the phone rings once more. Claire grabs the receiver.  
  
CLAIRE  
  
Please, stop! I am so tired  
  
off---  
  
VOICE  
  
(o.s.)  
  
I will soon get you and eat  
  
those delicious entrails! Oh,  
  
all that sweet blood and mucus...  
  
HAPPY EASTER!!!!  
  
The Caller laughs insanely and hangs up. Claire slams down the receiver, but picks it up a moment later and dials a number.  
  
MALE VOICE  
  
(o.s.)  
  
Torrey Oak Police Department.  
  
State your name and adress.  
  
CLAIRE  
  
This is Claire Collins. I am  
  
a staff memeber over at Green  
  
Hills Lodge.  
  
MALE VOICE  
  
(o.s.)  
  
State your emergency.  
  
CLAIRE  
  
I have been getting some  
  
extremely obscene phone  
  
calls.  
  
MALE VOICE  
  
(o.s.)  
  
No need to worry. Probably  
  
just some kids, having fun.  
  
CLAIRE  
  
No, you don't understand.  
  
Everyone else had disappeared  
  
and... And the lights went out.  
  
It's all so strange.  
  
MALE VOICE  
  
(o.s.)  
  
I am sure there is no reason  
  
for these incidents to be  
  
related in any way. Please  
  
just stay calm.  
  
CLAIRE  
  
CALM?! I AM CALM!! YOU ARE  
  
YOU ARE THE DAMN POLICE!!!  
  
DO SOMETHING!!!  
  
  
  
MALE VOICE  
  
(o.s.)  
  
Miss, if you won't get calm  
  
I will hang up.  
  
CLAIRE  
  
YOU DON'T UNDERSTAND!!!  
  
Hello? Hello?  
  
But the only sounds coming out of the phone are rapid beeps. Claire slams down the receiver in frustration. A second later it rings again. Claire hesitantly picks it up.  
  
CLAIRE  
  
Is... Is this the police?  
  
VOICE  
  
(o.s.)  
  
Licking it! Licking it! Lick  
  
it! Lick it! Yummy... Yummy...  
  
They won't any piece of your  
  
delicious flesh!!!  
  
Claire eyes widen in terror she hangs up and picks up the receiver again and dials the number she did before.  
  
MALE VOICE  
  
(o.s.)  
  
Torrey Oak---  
  
CLAIRE  
  
It's me again.  
  
MALE VOICE  
  
(o.s.)  
  
Oh, that's right. Now, will  
  
you speak calmly?  
  
CLAIRE  
  
Please, you have to do something!  
  
Everyone's disappeared and the  
  
lights went out. And that caller...  
  
He is threatening to kill me and  
  
god knows what else!  
  
MALE VOICE  
  
(o.s.)  
  
Alright. The important thing  
  
is not to panic. Even though  
  
I am sure they are just prank  
  
calls, if he calls back, contact  
  
us immediately and I will think  
  
about what to do. Okay?  
  
CLAIRE  
  
Okay.  
  
MALE VOICE  
  
(o.s.)  
  
Good luck.  
  
The policeman hangs up. Claire does the same and begins to look at the telephone in fear. Then, it rings again. Claire slowly picks it up.  
  
CLAIRE  
  
What do you want from me?  
  
VOICE  
  
(o.s.)  
  
You... Will... Die... Alessa...  
  
Daddy will... Do... Anything...  
  
Nobody can disturb. For this...  
  
I... Will... cut out your...  
  
heart and eat it... I will lick  
  
up your blood and wear your  
  
skin... HAPPY EASTER!!!  
  
Claire slams down the receiver with a terrified look on her eyes. She dials the police again.  
  
MALE VOICE  
  
(o.s.)  
  
Torrey Oak Police Department.  
  
CLAIRE  
  
It's me, Claire.  
  
MALE VOICE  
  
(o.s.)  
  
Oh. Has he called again?  
  
CLAIRE  
  
Yes. Please do something!  
  
I think he really does  
  
want to hurt me.  
  
(panicking)  
  
Please do something!  
  
MALE VOICE  
  
(o.s.)  
  
Ma'am! Please don't panic.  
  
Panic is your worst enemy  
  
now. What's your name again?  
  
CLAIRE  
  
It's Claire.  
  
MALE VOICE  
  
(o.s.)  
  
Great. Now listen, Claire. My  
  
name is Officer Stevens and  
  
here is what we are going to  
  
do. Next time he calls, try  
  
to keep him on for at least  
  
a minute. We'l trace the call  
  
and get him. Does that sound  
  
like a good plan to you?  
  
CLAIRE  
  
Y... Yes. Sounds fine.  
  
OFFICER STEVENS  
  
(o.s.)  
  
That's good. I am going to  
  
hang up now and call you  
  
when we get him, okay?  
  
CLAIRE  
  
Okay.  
  
Claire hangs up and begins to look anxiously at the telephone. For a few moments nothing happens, it is absolutely dead. Suddenly, the telephone rings. Claire quickly picks up the receiver.  
  
CLAIRE  
  
You?  
  
VOICE  
  
(o.s.)  
  
Yuo must die. Die. Die. Die.  
  
I will splatter you all over  
  
this damned lodge. They will  
  
have to gather you up like a  
  
jigsaw puzzle. What's that,  
  
Alessa? Sweety? You won't me  
  
to cut out her womanly parts?  
  
Claire eyes widen in horror and disbelief as she listens to the bizzare ranting. She begins to hyperventilate and her hand grasps the receiver tighter and tighter.  
  
VOICE  
  
(o.s.)  
  
(cont'd)  
  
Anything for you, Sweetie.  
  
Daddy will do just as you  
  
ask. You will die! I will  
  
carve you up. Carve you  
  
all up and lick up that  
  
delicious blood. Yummy blood.  
  
Yummy entrails. You will sorely  
  
miss your womanly parts. Don't  
  
worry... I will soon arrive  
  
and finish everything up.  
  
HAPPY EASTER! HAPPY EASTER!  
  
HAPPY EASTER! HAPPY EASTER!  
  
CLAIRE  
  
(screaming into the receiver)  
  
LEAVE ME ALONE! GET AWAY!  
  
The caller laughs insanely and hangs up. Claire slams down the receiver an begins to look around the room in panic and terror. Then, the telephone rings again. Claire picks it up and a frenzy.  
  
CLAIRE  
  
JUST LEAVE ME ALONE!! I  
  
beg you! Please...  
  
OFFICER STEVENS  
  
(o.s.)  
  
Claire! I want you to listen  
  
to me very carefully and not  
  
ask any questions.  
  
CLAIRE  
  
What? Why?  
  
OFFICER STEVENS  
  
(o.s.)  
  
Don't ask any questions and  
  
do exactly as I say. Get out  
  
of the lodge and hike up to  
  
the highway. We'll get there  
  
as soon as we can. Leave now,  
  
immediately!  
  
CLAIRE  
  
O... Okay... I'll just see  
  
if the others are upstairs  
  
and---  
  
OFFICER STEVENS  
  
(o.s.)  
  
NO!!! GET OUT NOW!!  
  
CLAIRE  
  
Why? What's wrong?  
  
OFFICER STEVENS  
  
(o.s.)  
  
Listen. The phone calls are  
  
coming from inside the lodge.  
  
He is inside the building!  
  
Leave immediately!!  
  
ECU ON CLAIRE: A look of pure, unimaginable terror fills her face.  
  
CUT TO:  
  
56MONTAGE - ALL THE SUSPICIOUS PALCE AT THE LODGE  
  
--The dark corners.  
  
--The closed doors.  
  
--The dark stairs.  
  
--The basement.  
  
CUT TO:  
  
57INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire drops the receiver on the floor.  
  
OFFICER STEVENS  
  
(o.s.)  
  
Claire? Do you hear me? Claire?  
  
Claire takes the candlestick and heads towards the door.  
  
CUT TO:  
  
58INT. LODGE - LOBBY - NIGHT  
  
Claire, still holding the candle, approaches the foot of the stairs.  
  
CLAIRE  
  
Scott? Monica? Heather? Guys,  
  
we have to leave the lodge  
  
this second. There is a  
  
psychopath lurking around  
  
here. Guys? Trisha? Walter?  
  
Mark...  
  
(voice breaking, screaming)  
  
FOR GOD'S SAKE, PLEASE ANSWER  
  
ME!!!! PLEASE!!!!  
  
The only answer is the deep silence. Claire gulps and slowly begins to climb up the stairs, but a the last second she climbs back down and heads into the opposite direction.  
  
CUT TO:  
  
59INT. LODGE - KITCHEN - NIGHT  
  
Claire looks around the room, the only light is her candle. She comes up to a drawer and opens it. She GASPS.  
  
INSERT - DRAWER  
  
Among other utensils, lies the familiar meat hammer, with blood and brain tissue crusted over it.  
  
BACK TO SCENE  
  
REACTION SHOT: Claire clasps her mouth.  
  
Carefully, so not to touch the hammer, she takes out A BUTCHER KNIFE and heads back.  
  
CUT TO:  
  
60INT. LODGE - LOBBY - NIGHT  
  
With the candle in one hand and the knife in the other, Claire begins to climb up the stairs.  
  
CUT TO:  
  
61INT. LODGE - HALLWAY - NIGHT  
  
Claire looks around. Nothing looks strange. Then, she notices something anfd begins to move towards it.  
  
REVERSE SHOT: The door leading to maid's quarters 1 is lightly open with an small orange glow emitting out of the opening.  
  
Claire slowly moves towards it.  
  
CLAIRE  
  
Is anyone there?  
  
Claire place the candle on a small table next to the door. Then she nudges the door to open further and enters the room.  
  
CUT TO:  
  
62 INT. LODGE - MAID'S QUARTERS 1 - NIGHT  
  
Claire stops dead in her tracks. She lets out a blood curdling SCREAM, followed by A MUSICAL STING.  
  
REVERSE SHOT: lighted candles are placed on the shelf, window sill and the floor, casting an eerie glow on the scene. Mark is half sitting, half lying on one of the beds. The palstic bag is still over his face, frozen in a scream. Nestled next to him is Trisha, wearing only her t-shirt, the bottom of which is stained in blood. Her eyes are glossed over and the jaw is dropped. A pair of bloody scissors are placed neatly in the open space between her legs. Mark in Trisha seem to be in a bizzare parody of a lovers' embrace. Walter's corpse is sitting in the chair by the window. Dried blood stains his entire upper body. There is a telephone next to him, with the receiver off the hook. Heather's body is lying on the other bed. The knife is placed in the wound in her neck. The macabre scene is decorated by crude sign, written is blood:  
  
DON'T FORGET THAT EASTER  
  
Claire is unable to believe her eyes. She begins to weep like a wounded, defensless puppy.  
  
THEME begisn to settle in, as the open door begins to slowly slip back into place.  
  
REACTION SHOT: Claire snaps out of shock and turns around, knife ready.  
  
REVERSE SHOT: The door swings ack in its place and Scott's lifless body is revealed.  
  
Claire screams in terror as Scott falls on top of her. As hios back is revealed, we can see a deep wound int he back of his head.  
  
Claire tries desperately to push Scott off of herself.  
  
CLAIRE  
  
SCOTT!!! Oh, god...  
  
Claire pushes him off and quickly gets back on her feet. She wastes no time and rushes out of the room, the knife still in her hand.  
  
CUT TO:  
  
63INT. LODGE - HALLWAY - NIGHT  
  
Claire runs for the stairs, forgetting the candles.  
  
CUT TO:  
  
64INT. LODGE - LOBBY - NIGHT  
  
Because of the dark, Claire trips on the last few steps and tumbles down to floor, dropping the knife. She moans in pain and slowly gets up. She begins to run towards the front door, this time slightly limping and holding her leg.  
  
  
  
Claire rushes to the door and begins to work the locks. She can't a hang of the last one.  
  
CLAIRE  
  
How do open this stupid  
  
thing?  
  
Claire gives up on the lock. Then, with no warning, the lights flash back on! Claire spins around, totally confused. She then picks up her knife and quickly limps back into the depth of the lodge.  
  
CUT TO:  
  
65INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire rushes in, slamming the door behind her. In a frenzy, she locks it, rushes over to the large chair and pushes it against the door. She then sighs in relief and puts the knife on table. She finally collapses on the chair.  
  
CLAIRE  
  
What am I gonna do...  
  
Suddnely Claire freezes. Terrified, she looks st something in the back of the room.  
  
REVERSE SHOT: Thw window is still open.  
  
  
  
Claire slowly gets up and begins to approach the window. She gets closer. Closer. Closer.  
  
When she is just a short distance away...  
  
....A VIOLENT CHORD!!! Suddenly, A LARGE OBJECT is hurled at Claire throught he window.  
  
Claire SCREAMS. The object misses her and falls on the floor. Claire looks down to see what it is.  
  
REVERSE SHOT: It is Monica, long since dead. Her face is obviously mutilated, but very little seen since her her arm is covering most of the face.  
  
REACTION SHOT: Claire... oh, my God...  
  
Claire bolts for the door. She pushes away the chair, unlocks the door, opens it runs out.  
  
CUT TO:  
  
66INT. LODGE - LOBBY - NIGHT  
  
Clire runs toth front door and pulls the handle again and again, she shows no the sign of giving up. A SNAPPING SOUND is heard and Claire gives the door another pull. It opens. Claire rushes outside.  
  
CUT TO:  
  
67EXT. LODGE - NIGHT  
  
Clire runs out the front door and runs a few feet away from the lodge...  
  
Only to be grabbed by A PAIR OF STRONG HANDS. Claire screams louder then she ever did before and tries to wriggle free, but the preson is too string. She finally gives and focuses to see who the person is. It is MR. ISAACSON. He is in his late sixties, but is still strong, fit, healthy and very nice looking. His eyes are very kind.  
  
Mr. Isaacoson is trying to his best to calm down the hysterical girl.  
  
MR. ISAACSON  
  
There, there. It is alright  
  
now. Please stop it and tel  
  
me what's wrong.  
  
Claire stops sobbing and thrashing about.  
  
CLAIRE  
  
Who... Who are you? What  
  
do you want?  
  
MR. ISAACSON  
  
Me? Well, I am Mr. Isaacson.  
  
I have a small cabin in the  
  
nearby woods. I heard all the  
  
commotion and came by to check  
  
it out. What has happened here?  
  
You look terrible.  
  
Claire breaks into hysterical sobs.  
  
CLAIRE  
  
Oh, my god! I am so afraid!!  
  
First... First there were  
  
these phone calls and then  
  
everyone disappeared... Then...  
  
Then I found them... Oh, my  
  
god, poor Scott, Trisha...  
  
Everyone!!! They're all dead!!  
  
Monica... She...  
  
MR. ISAACSON  
  
Please calm down. Are you  
  
saying that all of your  
  
friends have disappeared?  
  
Maybe if we look for them---  
  
CLAIRE  
  
No, no! You don't understand.  
  
They were all murdered. There  
  
is a psycopath inside the  
  
lodge!!!  
  
MR. ISAACSON  
  
What?! I have to go see...  
  
CLAIRE  
  
NO! DON'T!! He's still  
  
inside!!  
  
Mr. Isaacson smiles warmly.  
  
MR. ISAACSON  
  
Don't worry, Sweetheart.  
  
I can stand up for my  
  
self.  
  
He gently pushes Claire aside and begins to walk towards to the lodge. Reluctantly, Claire follows him.  
  
CUT TO:  
  
68INT. LODGE - LOBBY - NIGHT  
  
Mr. Isaacson looks around the place, noticing nothing amiss. He obviously does not believe Claire.  
  
MR. ISAACSON  
  
You see? There is nothing  
  
wrong.  
  
CLAIRE  
  
They're...  
  
(sobs)  
  
They're upstairs.  
  
Mr. Isaacson eyes Claire with suspicion, but still climbs up the stairs.  
  
ANGLE ON CLAIRE: She waits for him impatiently, her eyes looking up.  
  
A TERRIFIED GASPS is heard.  
  
MR. ISAACSON  
  
(o.s)  
  
Sweet... No, not again...  
  
It's happening again...  
  
A few moments later, Mr. Isaacson comes back down the stairs, he is in shock.  
  
MR. ISAACSON  
  
They were all so young...  
  
Why would anybody...  
  
CLAIRE  
  
Monica is back there.  
  
Claire points to the hallway in the back.  
  
MR. ISAACSON  
  
You mean there is more?!  
  
CLAIRE  
  
Can we please go? The police  
  
will arrive soon and what if  
  
the killer is still here?  
  
What if...  
  
But Mr. Isaacson does not listen to her and walks towars the employee lounge. Claire swallows her last sob and reluctantly follows him.  
  
CUT TO:  
  
69INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Mr. Isaacson and Claire enter. He sees Monica's body and sighs in sadness.  
  
MR. ISAACSON  
  
Oh, lord... We shall go  
  
straight to the police.  
  
CLAIRE  
  
They should arrive soon  
  
now.  
  
MR. ISAACSON  
  
I knew that history would  
  
repeat itself.  
  
Mr. Isaacson leads Claire over to the couch. The two sit down. Mr. Isaacson hugs Claire in order to comfort her. She burries her face in his strong shoulder, as Mr. Isaacson begins to stroke Claire's hair.  
  
MR. ISAACSON  
  
(cont'd)  
  
Every time they try to reopen  
  
this damned place something  
  
awful happens. That horrible  
  
sign... They should have just  
  
let it burn down and get this  
  
over with...  
  
Gentle breeze begins to lightly sway the open window back and forth.  
  
MR. ISAACSON  
  
(cont'd)  
  
...The Dead Lodge...  
  
Claire stops crying. She relaxes and closes her eyes. Mr. Isaacson has almost completly calmed her down.  
  
  
  
MR. ISAACSON  
  
(cont'd)  
  
Why did they try to reopen  
  
it again? After all those  
  
tragedies? All the way  
  
back in 1973... A maid of  
  
theirs drowned. Only it was  
  
no accident. That poor girl  
  
commited suicide.  
  
Claire looks up as Mr. Isaacson strokes her hair.  
  
ANOTHER ANGLE: ECU as the Mr. Isaacson's hand strokes Claires's hair. There is a large scar on the wrist!  
  
  
  
THEME enters upon the TRACK in a lyrical, child-like  
  
version, echoing back to another era, pretty and light.  
  
MR. ISAACSON  
  
(cont'd)  
  
They drove her to it. Those  
  
two lovers that were killed  
  
a year later. She was a sweet,  
  
naive girl. She thought that  
  
the owner of the lodge loved  
  
her. She let him take her in  
  
that damned maid's room upstairs.  
  
He got her preganat and when he  
  
found out... He just laughed at  
  
her, along with his whore.  
  
The poor girl's heart was broken.  
  
She didn't know what to do and  
  
with the shame of carrying a  
  
bastard child... She drowned  
  
herself. She was only seventeen.  
  
Her name was... Alessa.  
  
Claire blinks, alarmed at something, but can't quite put her finger at what.  
  
MR. ISAACSON  
  
(cont'd)  
  
In any case... We should go  
  
now.  
  
CLAIRE  
  
Maybe we should first wait  
  
for Allan Carlton.  
  
MR. ISAACSON  
  
(cont'd)  
  
No. I do not think that this  
  
will be necessary.  
  
As he speaks, Mr. Isaacson reaches over to the table and takes the knife.  
  
MIXED on the TRACK, filtered, echoed and distant, is the SOUND of a seventeen year old girl, ALESSA, crying out for her father in an obviously pure fantasy version of what might have happened when she drowned back in 1973.  
  
DISSOLVE TO:  
  
70FLASHBACK - LAKE - 1973  
  
A pretty young GIRL in a white dress is standing at the edge. This is Alessa.  
  
ALESSA  
  
(through sobs)  
  
I am sorry, Daddy... I am  
  
Sorry...  
  
Alessa slowly spreads her arms and throws herself into the water, making hardly a spalsh.  
  
DISSOLVE BACK TO PRESENT:  
  
71INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Mr. Isaacson cocks his head up to listen to Alessa's cries.  
  
ALESSA  
  
(v.o.)  
  
Please forgive me. Daddy...  
  
Daddy... Daddy...  
  
Mr. Isaacson's eyes fill with tears.  
  
MR. ISAACSON  
  
(cont'd)  
  
I forgive you, Alessa. It  
  
was not your fault. I never  
  
blamed you for a minute...  
  
CLAIRE  
  
(a little confused)  
  
Why shouldn't we wait  
  
for Allan?  
  
Mr. Isaacson has gone through some subtle changes. While his voice remains warm and comforting, his face has started to slip into his other manifestation. All of this is in concert with the visibility of his weapon.  
  
MR. ISAACSON  
  
It was my daughter they killed.  
  
They said it was suicide, but  
  
I know that those two drove  
  
her to it. It was murder.  
  
Claire starts to become increasingly anxious. She can't see the knife rise behind her.  
  
CLAIRE  
  
Allan will be back soon.  
  
  
  
Mr. Isaacson shakes her head from side to side.  
  
MR. ISAACSON  
  
No, he won't. I killed him  
  
as well....  
  
  
  
The shock of recognition hits Claire. In CU her eyes look up  
  
and see the knife which Mr. Isaacson now has poised and ready to strike. Claire bolts off the couch and stumbles backwards into the wall, crudely brushing against the telephone. It trinks violently.  
  
CLAIRE  
  
You... It was you on the  
  
phone! And you were the  
  
one that... That killed  
  
them!  
  
Mr. Isaacson stands and steps forward.  
  
MR. ISAACSON  
  
I couldn't let them open up  
  
this this place again, could  
  
I? Not after what has happend.  
  
You see, they never found  
  
Alessa's body. This whole area  
  
is the grave of my daughter and  
  
unborn grand child. Alessa...  
  
My daughter... My only family...  
  
(with rage)  
  
You! You came here and interupted  
  
her peace! It is all you fault!  
  
Look! Look what you did to my  
  
child!!!  
  
Claire, in panic, looks for an escape. In desperation, she grabs the telephone.  
  
CLAIRE  
  
No! I won't let you!  
  
Mr. Isaacson steps forward, with the knife ready. Claire aims the telephone.  
  
CLAIRE  
  
(cont'd)  
  
No! No! No!  
  
Mr. Isaacson raises his arm to slash downward with the knife. Claire swings the telephone across his face, hitting him hard.  
  
  
  
Mr. Isaacson is in pain, his face a mask of rage.  
  
Claire drops the telephone hard on his head and runs for the door.  
  
Mr. Isaacson hesitates for a moment, then follows Claire deliberately.  
  
CUT TO:  
  
72INT. LODGE - LOBBY - NIGHT  
  
Claire limps toward the front door, tripping chairs, thrwoing vases, anything that would delay Mr. Isaacson.  
  
CUT TO:  
  
73EXT. LODGE - NIGHT  
  
Claire runs out the front door. The THEME is going full-tilt as she makes quickly head for the tool shed.  
  
ANOTHER ANGKE: Claire stops to by a tall tree to catch her breath. She looks over her shoulder.  
  
REVERSE SHOT: Mr. Isaacson is nowhere in sight.  
  
Suddenly, something topples out of the tree, rught at Claire's feet. Terrified she looks down and sees Joan's corpse lying on her stomach. Dried blood cakes her back and a terrifying grimace is on her face.  
  
REACTION SHOT: Claire, clasping her mouth and with an unbelievable look in her eyes, slowly backs off.  
  
CUT TO:  
  
74EXT./INT. TOOL SHED - NIGHT  
  
Claire rushes to the tool shed.  
  
CLAIRE  
  
Please be open...  
  
Claire swings the door open and screams in teror and desperation.  
  
REVERSE SHOT: Allan is revealed. His eyes are wide open and his throat has been slit. He falls forward, barely missing Claire.  
  
Claire steps over the body and rushes inside and grabs the revolver. She checks the magazine. It is empty.  
  
CLAIRE  
  
Where are the goddamn  
  
bullets?!  
  
A SILHOUETTE appears in the doorway. The CAMERA ZOOMS closer. It is Mr. Isaacson.  
  
MR. ISAACSON  
  
Come, Dear. A quick, painless  
  
death is nothing what my  
  
daughter went through.  
  
Claire aims the useless gun at Mr. Isaacson. He carefully steps over Allan and moves forward, backing her into the corner.  
  
CLAIRE  
  
Don't come near me! I'll  
  
shoot!  
  
MR. ISAACSON  
  
No. You. Won't.  
  
CLAIRE  
  
You can't get away with it!  
  
The police will arrive soon.  
  
MR. ISAACSON  
  
Do you honestly think that?  
  
This lodge is miles away  
  
from the town. By the time  
  
they'll get here I will be  
  
all set and done.  
  
CLAIRE  
  
No.  
  
MR. ISAACSON  
  
Alessa was my daughter.  
  
Wouldn't you have done  
  
the same for your own  
  
child?  
  
CLAIRE  
  
Please!  
  
MR. ISAACSON  
  
Come now.  
  
He moves closer and raises the butcher knife.  
  
ANGLE ON CLAIRE: She does all she can do. She takes the gun by the barrel and tries to hit Mr. Isaacson with the butt.   
  
CU ON MR. ISAACSON: He quickly ducks, displaying the cunning stealth he showed all along as the Stalker.  
  
Clairet throws the revolver, hitting Mr. Isaacson in the chest. He grunts, but moves even closer. Claire then grabs and empty paint bucket and throws at it at him as well. The bucket flies past Mr. Isaacson, grazing him on the arm.  
  
MR. ISAACSON  
  
Enough games.  
  
Mr. Isaacson grabs Claire by her neck and rises the knife to strike. The knife goes down, but it suddenly stops in mid-air. A look of pain fills Mr. Isaacson's eyes.  
  
ANOTHER ANGLE: CU as Claire has hit Mr. Isaacson square in the groin. She does it again and again.  
  
Mr. Isaacson drops the knife and let's go of Claire. He topples on the ground.  
  
Claire does not hesitate. She quickly grabs the knife and rushes towards the door. She trips over Allan's body and falls on the ground. She quickly gets up to her feet and runs off, limping.  
  
A few seconds later, Mr. Isaacson slowly get up to his feet. He walks over to the door way.  
  
MR. ISAACSON  
  
It's no use to run! I know  
  
this place like the back of  
  
my hands. You can't get away.  
  
CUT TO:  
  
75EXT. WOODS - NIGHT  
  
Claire runs through the many trees and bushes she looks behind her a few times, but sees nothing. She runs out of the FRAME.  
  
The CAMERA waits for Mr. Isaacson, but he does not appear.  
  
CUT TO:  
  
76EXT. LODGE - NIGHT  
  
Claire runs for the front door, but stops a few feet before reaching it. She looks at it, hesitating, but then lets out a deep sigh and runs inside.  
  
CUT TO:  
  
77INT. LODGE - LOBBY - NIGHT  
  
Claire locks the door on the remaining intact locks, stillholding the knife. She then looks around her surroundings and lets out a sigh of relief. She then leans against the stairs, relaxes and closes her eyes.  
  
Then, A MUSICAL STING! A HAND grabs Claire by the hair and swings her around. The CAMERA pulls back and we see Mr. Isaacson on the stairswith a completly psychotic look in his eyes.  
  
MR. ISAACSON  
  
I will not let you live!  
  
Claire manages to cut his his fingers with knife. Mr. Isaacson howls in pain and lets go. Claire quickly runs into the depths of the lodge.  
  
CUT TO:  
  
78INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Claire rushes in and shuts the door. She puts her body against the door. Almost immediately, loud pounding begins. The begins to shake. Claire does her best to hold off the insane murderer. Then, his damaged hand slips through and begins scratching at her face. She screams.  
  
CLAIRE  
  
No! Get away! Get away!  
  
Then, the door gets a major push. Claire is knocked on the floor. The door swings open and Mr. Isaacson enters. Claire scrambles on her feet and points the knife in front of her, but in a flash, Mr. Isaacson knocks the knife out of Claire's hands. He then slaps her across the face. He does it again. He then begins to strangle Claire. She begins to squirm back and forth and make chokig sounds. CU as Mr. Isaacson's hand close tighter.  
  
ANOTHER ANGLE: With her hands free, Claire searches for something, anything on the table behind her. Her hands reach the basket with the Easter eggs.  
  
Claire quickly grabs a few eggs and smashes them into Mr. Isaacson's eyes. He screams and lets go of the girl. He uses his free hands to get the shells and the goo out of his eyes.  
  
Claire looks around.  
  
ECU: A BRONZE STATUETTE sits on a shelf.  
  
Claire rushes to the statuette and grabs it. Then, screaming maniacally, she then hits Mr. Isaacson across the head. He grunts and collapses on the floor in a heap. She hits him again and again, with the statuette getting stained with blood.  
  
CLAIRE  
  
DIE! DIE! DIE! DIE! DIE!  
  
She continues to smash the statuette repeatedly over Mr. Isaacson's head, as POLICE SIRENS slowly filter in.  
  
CROSS CUT TO:  
  
79EXT. LODGE - NIGHT  
  
TWO POLICE CARS, with the sirens flashing and wailing violently, pull into the lot. Almost immediately, the doors open and FOUR POLICEMEN rush out.  
  
POLICEMAN 1  
  
Hurry, hurry!!  
  
The CAMERA follows them as the rush towards the lodge, their guns ready. POLICEMAN 2 tries the door knob.  
  
POLICEMAN 2  
  
It's locked.  
  
POLICEMAN 1  
  
Well, then shoot it! Come  
  
on!  
  
Policeman 2 shoots the lock.  
  
CUT TO:  
  
80INT. LODGE - LOBBY - NIGHT  
  
The door flies open, making a lound bang against the wall. The four Policemen run in.  
  
POLICEMAN 1  
  
Peter, Roger, you check  
  
upstairs!  
  
Policemen 3 and 4 nod run up the stairs, as Policeman 1 and 2 run into the hall.  
  
CUT TO:  
  
81INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Policmen 1 and 2 rush in through the open door and stop dead in their tracks.  
  
POLICEMAN 2  
  
Jesus...  
  
REVERSE SHOT: Mr. Isaacson lies dead on the floor, a pool of blood is around his head, like some bizzare halloo. The CAMERA pans further, and Claire is revealed. She is curled up in the corner, still grasping the bloody statuette. A look of mad terror is seen in her eyes.  
  
POLICEMAN 1  
  
It's okay now. You're safe  
  
now.  
  
POLICEMAN 2  
  
It's over, Miss.  
  
They reach towards Claire.  
  
POLICEMAN 3  
  
(o.s.)  
  
Josh! Bill! Upstairs...  
  
Policeman 3 and 4 run in. They are shocke and terrified.  
  
POLICEMAN 2  
  
What? What's upstairs?  
  
POLICEMAN 3  
  
It's... It's...  
  
POLICEMAN 4  
  
It's a slaughterhouse...  
  
POLICEMAN 2  
  
What? Show me!  
  
Policeman 2,3, and 4 run out of the room, as Policeman 1 helps Claire up.  
  
CUT TO:  
  
83INT. LODGE - LOBBY - NIGHT  
  
Claire is sleeping peacefully on the couch, the blanket from eployee lounge covering her. Policeman 1 and 2 are huddled next to her.  
  
POLICEMAN 1  
  
That sick bastard... He must  
  
have made a call after each  
  
murder.  
  
POLICEMAN 2  
  
Do you think that he was also  
  
responsible for those incidents  
  
that happened around the lodge?  
  
POLICEMAN 1  
  
From what the girl has told  
  
us, he most probably has. It  
  
will be really hard to prove  
  
though.  
  
Policemen 3 and 4 enter the FRAME.  
  
POLICEMAN 4  
  
We've covered everything.  
  
Nothing else to do until  
  
help arrives.  
  
POLICEMAN 3  
  
I think its best that we  
  
should get going.  
  
POLICEMAN 1  
  
Right. Will you guys stay  
  
outside on guard before the  
  
ambulance should arrive to  
  
pick the girl and the bodies?  
  
POLICEMAN 3  
  
Sure thing.  
  
The four of them head towards the door. Policeman 1 exits last, but before he does, he turns off the lights, leaving Claire sleeping alone in tranquil darkness.  
  
CUT TO:  
  
84EXT. LODGE - NIGHT  
  
Policemen 1 and 2 approach their car.  
  
POLICEMAN 1  
  
Okay, Guys.  
  
POLICEMAN 2  
  
See you back at the precinct.  
  
Policeman 1 and 2 get in the car. The car's engine starts and it drives off shortly, as Policemen 3 and 4 assume their post by the lodge's main entrance.  
  
DISSOLVE TO:  
  
85INT. LODGE - MAID'S QUARTERS 1 - NIGHT  
  
ECU: Mark's distorted face inside the plastic bag. The CAMERA slowly pulls back, revealing the entire gruesome scene. Then, the CAMERA begins to move out of the room...  
  
--Past the hallway...  
  
--Down the stairs...  
  
--Past the lobby and sleeping Claire...  
  
--Past another hallway...  
  
Throughout the subtle transition, Mr, Isaascson voice FILTERS IN. It sounds the way he spoke on the telephone.  
  
MR. ISAACSON  
  
(v.o.)  
  
Alessa... Daddy's sorry...  
  
But... He... Will fix...  
  
Everything... Daddy's   
  
sorry...  
  
As he speaks, the CAMERA pulls into:  
  
86INT. LODGE - EMPLOYEE LOUNGE - NIGHT  
  
Except for the puddle of blood, Mr. Isaacson's body is nowhere in sight. The body is gone.  
  
DISSOLVE TO:  
  
87EXT. LODGE - NIGHT  
  
IN A WIDE SHOT: The lodge stands peacefully. Policemen 3 and 4 are still in their posts. Then, THE TELEPHONE RING is heard. The Policemen look at each other and then turn around to look at the lodge.  
  
The telephone keeps ringing ominously, as... THE CREDITS ROLL.  
  
THE END 


End file.
